Music in the making; Puccini's contribution to opera
Music in the making. Produced by Milliken university under a grant from the Educational Television and Radio Center in cooperation with the National Association of educational broadcasters and School of Music presents concert vocalist and chairman of the voice Department Hubert Norval in a recorded consideration of Puccini's contribution to opera musical illustrations will include Omeo Bobby NoCanDo girl of the Golden West and Belle de before commenting upon the subject at hand Professor Norval would like you to listen to Omeo Bobino Caro.
In the simple melodic area you have just you have a good example of Puccini's gift as a composer of opera. Puccini is important as a successor of verity in capturing the imagination of the opera going public and stirring the emotions of a satiated and sophisticated age through song thus perpetuating Italy's rich tradition. Look for example was an Austrian influenced by the Italian school in early life but he was quite at home in Paris and his maturity. He was a man of the world in art as and life whose works refused to be confined within any national style Puccini on the other hand was first last and foremost sensually and fundamentally Italian. Any influence he got from other lands and schools became Italian through his use of them.
Despite a strongly a talian trait in artistic quality Puccini was also a product of his age. The poor boy of Luca who actually lived through the poverty pictured in his opera lab a way name emerges after fortune smiled upon him as a typical prosperous gentleman. The significance of Puccini's life is that in his apparently effortless acceptance of life conditions as he found them we can perceive a clue to the quality of his music which denotes a deep understanding of the age in which he lived and worked. Puccini wrote for the public of the Gay Nineties and for that first decade of the 20th century when those disposed to be carefree and so easily be diverted by prosperity from seeing that terrible writing on the wall. It is interesting to note here that Richard Strauss the German composer who was six years younger than put
Cheney responded so differently to his age. Salomé was produced one year before petunias butterfly and Electra one year before petunias girl of the Golden West. The difference is explained by the fact that Strauss leapt ahead of his age while Puccini was of his age. Strauss was a musical iconoclast Puccini wrote with an existing taste expressing himself in terms of his age and another curious thing is that while the iconoclast Strauss is considered old fashioned by those who are preoccupied by fashion Puccini's music stamped as it undoubtedly is by the style of a bygone age is accepted as such without too much question even though it is probably that no dyed in the world modernist of today could be induced to sit through the performance of a Puccini opera if he could help it. Put Cheney and Richard
Strauss these contemporaries who are worlds apart artistically speaking have two things in common. One artistic integrity to creative vitality. Music inspired by these qualities you usually survive fashions in art no matter how many prejudiced noses may be turned up during the air is when strong pouncer tendencies create the modern currents of the day. The secret of Puccini's hold on a wide public today despite the indisputable dating of his operas is probably one that had to do all along with his ability to win instantaneous success. He more than any other important our operatic composer managed to claw with tragic plots with music that was expressive without being tragic. Puccini was himself so constituted that he could feel with the audiences of his
day and the matter of wanting tragedy disturb their sensibilities. Without ringing their hearts the nearest approach to grim tragedy in Puccini's opera as is in the death of an butterfly. And yet even there there is more pathos than grimness. Twelve operas in all. Nine operas and three short. We shall now hear two arias from his operas. First we should hear the soprano from Madame Butterfly.
This next. Week was known. Oh oh. Oh oh oh I was was was.
Oh a load. Of. It is certain that no Italian opera composer seems so likely to form a link between Verdi and the future composer who will carry the torch of Italian opera until this Italian composer appears in our midst. Puccini remains the sturdy young man of Italian opera. Professor Hubert Norval is brought to you recorded consideration of Puccini's contribution to opera.
- Music in the making
- Puccini's contribution to opera
- Producing Organization
- Millikin University
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
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- Episode Description
- This program discusses the influence on the development of opera that Giacomo Puccini's work had.
- Series Description
- Instructional comments and musical illustrations using faculty and students from the Millikin University School of Music. The first thirteen programs in the series focus upon historical aspects of music. The second half of the series explores music's technical side.
- Broadcast Date
- Opera--20th century.
- Media type
Producing Organization: Millikin University
Speaker: Norville, Hubert, 1905-1986
- AAPB Contributor Holdings
University of Maryland
Identifier: 56-8-8 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
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- Chicago: “Music in the making; Puccini's contribution to opera,” 1962-02-23, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed March 29, 2023, http://americanarchive.org/catalog/cpb-aacip-500-d50fzs82.
- MLA: “Music in the making; Puccini's contribution to opera.” 1962-02-23. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. March 29, 2023. <http://americanarchive.org/catalog/cpb-aacip-500-d50fzs82>.
- APA: Music in the making; Puccini's contribution to opera. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-d50fzs82