Cover

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Title Page, Copyright

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pp. i-iv

Contents

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pp. v-vi

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Acknowledgments

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p. vii

Above all, we would like to thank the many authors and translators whose contributions are featured in this volume. It has been a pleasure to work with all of them, and their efforts have left us not just hopeful, but tremendously excited, about the future of Puccini scholarship. Our work ......

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p. viii

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Introduction: Puccini, His World, and Ours

EMANUELE SENICI

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pp. 1-26

Marco Malvaldi is a writer of detective novels that have met with widespread success in Italy over the last decade. In 2015 he published Buchi nella sabbia (Holes in the Sand), set in his hometown of Pisa, Tuscany, in ...

PART I: ESSAYS

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Realism and Skepticism in Puccini’s Early Operas

ARMAN SCHWARTZ

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pp. 29-48

The final act of Amilcare Ponchielli and Arrigo Boito’s 1876 opera La Gioconda takes place in “the entry hall of a dilapidated palace” on Venice’s Giudecca island. It is a lonely, indeterminate space, designed to contrast ...

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Madama Butterfly Between East and West

ARTHUR GROOS

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pp. 49-84

Puccini discovered John Luther Long’s and David Belasco’s one-act play Madame Butterfly on 21 June 1900 at the Duke of York’s Theatre in London, where he was helping prepare the first Tosca at Covent Garden.1 Although he later said that the effect was like pouring...

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Laggiù nel Soledad: Indexing and Archiving the Operatic West

ELLEN LOCKHART

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pp. 85-110

Over the past two centuries, the Milan-based music publisher Ricordi accumulated a veritable gold mine of historical artifacts relating to nineteenth-century Italian opera. The archives of Casa Ricordi—once the mighty firm associated with Rossini, Bellini, Donizetti, Verdi, and ...

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The Swallow and the Lark: La rondine and Viennese Operetta

MICAELA BARANELLO

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pp. 111-132

In March 1914, the close-knit world of Viennese operetta received a shock: Siegmund Eibenschütz, director of the eminent Carl Theater, had reached an agreement with Giacomo Puccini for the composition of a new operetta, “a comedy about a courtesan who begins a love idyll with ...

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Puccini’s Things: Materials and Media in Il trittico

ALESSANDRA CAMPANA, CHRISTOPHER MORRIS

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pp. 133-158

In Puccini’s late operas and Il trittico in particular, music and stage action seem to deal differently with the work of representing. According to Michele Girardi, for...

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Puccini, Fascism, and the Case of Turandot

BEN EARLE

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pp. 159-182

How many times did Giacomo Puccini meet Benito Mussolini? Mary Jane Phillips-Matz suggests the two men met twice, within a matter of weeks. She cites a letter from Puccini to Pietrino Malfatti—“an old friend from ...

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Music, Language, and Meaning in Opera: Puccini and His Contemporaries

LEON BOTSTEIN

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pp. 183-226

Snobbery and disdain for the works of Giacomo Puccini, once commonplace in academic circles and within a self-consciously sophisticated segment of the opera public, particularly during the two decades that followed the end of the Second World War, are no longer fashionable. The old “Puccini ...

PART II: DOCUMENTS

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Puccini on His Interpreters

EMANUELE SENICI

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pp. 229-260

“As a matter of fact Puccini was a peculiarly inexorable, and not always a very amiable judge of his conductors and singers, and his exaggerated demands and unmitigated candor often made the rehearsals an ordeal...

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The Verismo Debate

ARMAN SCHWARTZ

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pp. 261-272

Verismo—“realism” or, more literally, “truth-ism”—must surely rank among the most vexed terms in the historiography of Italian opera. Should it refer to all the stage works produced by the so-called giovane scuola (Pietro ...

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Leoncavallo’s Pagliacci and Modern-Realistic Opera by Hans Merian

ELAINE FITZ GIBBON

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pp. 273-290

The arrival in German opera houses of Mascagni’s Cavalleria rusticana and Leoncavallo’s Pagliacci (usually called Der Bajazzo in Germany) in the early 1890s struck like a thunderbolt and unleashed extensive discussion ...

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Albert Carré’s Staging Manual for Madama Butterfly (1906)

MICHELE GIRARDI, DELIA CASADEI, STEVEN HUEBNER

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pp. 291-322

The French premiere of Madama Butterfly, which took place at the Parisian Opéra-Comique on 28 December 1906, occupies a particularly prominent position in the opera’s history. It was on this occasion that Puccini, who ...

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Selections from Fausto Torrefranca’s Giacomo Puccini and International Opera

ALEXANDRA WILSON, DELIA CASADEI

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pp. 323-336

Giacomo Puccini e l’opera internazionale (1912) is one of the most important Puccini reception documents of the composer’s lifetime: an audacious 133-page diatribe by a twenty-nine-year-old critic and aspiring musicologist, Fausto Torrefranca....

Index

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pp. 337-346

Notes on Contributors

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pp. 347-352

OTHER PRINCETON UNIVERSITY PRESS VOLUMES PUBLISHED IN CONJUNCTION WITH THE BARD MUSIC FESTIVAL

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pp. 353-354