I. Surveys of Life and Works
Initially, surveys of Pucciniâs life and works tended to reflect the nationalities of their authors: while Italians debated his proper place in their cultureâs history, non-Italians introduced their readers to his âforeignâ temperament and aesthetic. After the publication of Carnerâs landmark study (item 10), Pucciniâs psychological makeup became an accepted key to the understanding of his music. Scholarly works that build on Carnerâs foundation include the biographically strong study by Casini (item 19) and Girardiâs more comprehensive second survey (item 30). Muscoâs volume (item 26), while offering exhaustive detail, is uneven in terms of reliability. Among the popular guides, Ashbrookâs (item 14) and Osborneâs (item 20) offer unique perspectives on Pucciniâs music and drama, respectively. The following entries are listed chronologically.
1. Weissmann, Adolf. Giacomo Puccini. ZeitgenĂśssische Komponisten, 11. Munich: Drei Masken Verlag, 1922. 93p.
Weismannâs biography is sketchy and he characterizes Pucciniâs operas as weak and neurasthenic. Knowing that the composer has been heavily criticized in Italy, Weissmann attempts to present a positive picture, but he pulls so many punches that his aesthetic pronouncements have little meaning. Pucciniâs drama and character types are discussed in detail, both on their own merit and as they compare to Richard Wagnerâs, but his music gets little attention. Portrait.
2. Monaldi, Gino. Giacomo Puccini e la sua opera. Rome: Libreria Editrice Mantegazza, [1923]. 114p.
LC: ML410.P89 M6
This volume, one of the earliest surveys of Pucciniâs life and work, offers a surprisingly perceptive consideration of his musico-dramatic aesthetic. After a brief look at Wagnerâs influence on Italian opera in the 1860s and 70s, Monaldi presents a sketchy portrayal of Pucciniâs life through early 1923. The authorâs conclusions are sometimes strikingly original: for example, he believes that of Pucciniâs two principal teachers at the Milan Conservatory, Antonio Bazzini had a greater influence on the young composer than Amilcare Ponchielli.
3. Specht, Richard. Giacomo Puccini: das Leben, der Mensch, das Werk. Berlin: M. Hesses Verlag, 1931. 230p. Reprinted, in Catherine Alison Phillipsâ English translation, as Giacomo Puccini: The Man, His Life. His Work, New York: Alfred A. Knopf, 1933. 256p. reprint, Westport, CT: Greenwood Press, 1970.
LC: ML410.P89 S61
Excerpt reprinted, as âMelodia amorosaâZur Musik in Puccinis La bohèmeâ in Giacomo Puccini. âLa bohème.â Texte, Materialen, Kommentare, edited by Attila Csampai and Dietmar Holland. Rororo OpernbĂźcher (Munich: Rowohlt Taschenbuch, 1981, 251â261).
LC: ML50.P965.B64 1981 | ISBN: 3-4991-7405-7 |
The first important non-Italian survey of Pucciniâs life and work, this well-meaning volume repeats many inaccuracies found in the biographies by Adami (items 52 and 57) and Fraccaroli (items 40 and 45). Spechtâs portrayal of the composer as an overgrown child underestimates both Pucciniâs personality and his working method. The authorâs musical insights, although colored by his ardent Wagnerism, are basically sound, but his condescending characterization of the Italian temperament undermines his discussion of Pucciniâs dramaturgy. Illustrations and autograph facsimiles (score pages from Capriccio sinfonico and La bohème, sketches from Gianni Schicchi and Turandot).
4. Knosp, Gaston. G. Puccini. Brussels: Schott, 1937. 238p.
LC: ML410.P89 K72
Knosp combines familiar anecdotes from the biographies of Adami (items 52 and 57), Fraccaroli (items 40 and 45), and Pagni and Marotti (item 49) with lesser known topics such as Pucciniâs residence in Boscolungo Abetone. Similarly, his discussion of the operas blends conventional accounts of genesis and reception with an examination of musical source material for La bohème (music examples are presented in solfège syllables) and criticism of the analytical work of Weissmann (item 1) and Coeuroy (item 280). The final chapter describes a solemn commemoration of Pucciniâs death, held in Brussels in 1936. Portraits, illustrations, autograph facsimiles (Turandot score and sketch), slightly inaccurate list of world premieres.
5. Mariani, Renato. Giacomo Puccini. I maestri della musica, 4. Turin: Edizioni Arione Torino, [1938]. 53p.
LC: ML410.P89 M27
A biographical sketch with relatively few errors and a clever assessment of Pucciniâs musical development are highlights of this survey. Mariani, who obviously favors the less popular La fanciulla del West, finds a superficiality of sentiment in Pucciniâs most successful operas, La bohème, Tosca, and Madama Butterfly. He answers Fausto Torrefrancaâs charge of âinternationalismâ (see item 607) and concludes, somewhat defensively, that critics have never given Puccini his due. Portraits, illustrations, autograph facsimiles (score pages from the Capriccio sinfonico and Gianni Schicchi).
6. Marek, George. Puccini. New York: Simon and Schuster, 1951. 412p.
LC: ML410.P89 M323
This is the first comprehensive English-language profile of Puccini and his music, and it is still the sole published source for some of his letters. Although Marek avoids many of the pitfalls of earlier biographers and provides new insight into Pucciniâs marriage, he glosses over important details about the composerâs working method. Marekâs musical commentary is vague and impressionistic and he tends to slight those operas that are not among his favorites. Illustrations and autograph facsimiles (score pages from Tosca and Madama Butterfly). Note: the Puccini manuscripts that Marek reports seeing at the New York Public Library were returned to the composerâs heirs in the early 1950s.
7. Baresel, Alfred. Giacomo Puccini: Leben und Werk. Kleine MusikbĂźcherei, Band 8. Hamburg: H. Sikorski, 1954. 78p.
LC: ML410.P89 B3
Baresel combines an unremarkable biographical sketch with brief descriptions of each opera, as he self-consciously introduces German readers to the Italian musico-dramatic aesthetic. Portraits, illustrations, music examples, work list, bibliography.
8. Terenzio, Vincenzo. Ritratto di Puccini. Bergamo: Stamperia Conti, 1954. 70p.
After a brief biographical sketch, this work gives way to an examination of Pucciniâs music and dramaturgy. Dispensing with a chronological framework, Terenzio discusses numerous large- and small-scale similarities among various Puccini operas. Many conventional assumptions about the composerâthat he was an exponent of verismo, that his musical gift was primarily for melody, that he possessed a âfeminineâ sensibilityâare challenged. While the bookâs almost stream-of-consciousness approach gives little sense of Pucciniâs artistic development, it engenders several thought-provoking discussions concerning his dramatic aesthetic. Work list (incomplete) and music examples.
9. Seifert, Wolfgang. Giacomo Puccini. Musikbßcherei fßr Jedermann, 14. Leipzig: Breitkopf und Härtel, 1957. 120p.
This volume combines an error-prone biography and a largely superficial musical study with above-average supporting materials, including a chapter on the musical and cultural contexts for Pucciniâs works and a summary of early German Puccini criticism. Music examples.
10. Carner, Mosco. Puccini: A Critical Biography. London: Duckworth, 1958. 500p. reprint, New York: Knopf, 1959; enlarged reprint, London: Duckworth, 1974. ISBN: 07â1560â795â2; reprint, New York: Holmes & Meier, 1977. ISBN: 08â4190â302â6; revised reprint, New York: Holmes & Meier, 1992. ISBN: 08â4191â326â9
LC: ML410.P89 C3
This definitive survey of Pucciniâs life and works is divided into three sections. The first, subtitled âThe Man,â offers a well researched biography that gives a clearer picture of Pucciniâs youth than any previous study. Carnerâs portrayal of the composer is more comprehensive than Marekâs (item 6) and more objective than either Spechtâs (item 3) or the early Italian biographersâ. The volumeâs second section, âThe Artist,â is its weakest. Here Carner combines a less than enthusiastic examination of stylistic issues with an unabashedly Freudian interpretation of the composerâs artistic personality, blaming an alleged mother-fixation for the fates of each of Pucciniâs heroines. The third section, subtitled âThe Work,â is a thoughtful examination of the music and drama of each of Pucciniâs operas, as well as several of his non-operatic compositions. Portraits, illustrations, music examples, autograph facsimiles (score pages from Manon Lescaut, Madama Butterfly, and Tosca; sketch of Turandot).
11. Greenfield, Edward. Puccini: Keeper of the Seal. London: Arrow Books, 1958. 256p.
LC: ML410.P89 G74
While this bookâs biographical section includes several inaccuracies, and its analysis of Pucciniâs character is harsh and unforgiving, Greenfield does make some keen general observations about the composerâs life. The discussion of Pucciniâs music offers interesting, if sometimes forced observations on dramaturgy, operatic manifestations of symphonic forms, and compositional style. An appendix offers an incomplete and inaccurate work list; another reprints the authorâs 1957 essay, âA âLostâ Puccini Aria.â Portraits and music examples.
12. Sartori, Claudio. Puccini. Le vite dei musicisti. Milan: Nuova Accademia, 1958. 404p.
LC: ML410.P89 S25
This important work, which deserves an English translation, complements Carnerâs survey (item 10). For the most part Sartori avoids technical discussions of Pucciniâs music in favor of a penetrating consideration of his mind and soul. The tone is essentially pessimisticâPuccini was a man of the 19th century whose 20th-century operas reflect his discomfort with modern livingâbut Sartoriâs portrayal is sympathetic. He begins with ...