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1
Fairtile, Linda Beard. "Giacomo Puccini's operatic revisions as manifestations of his compositional priorities /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40042833z.
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English, David Landon. "Role of Schaunard in La Boheme : Composer: Giacomo Puccini." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31614.
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The thesis for the Master of Music degree in Opera consists of the performance of a major role in one full opera production in the first or second year.
My major role in one full opera production was Schaunard performed in La Boheme on
February 8th and 10th of 2007.<br>Arts, Faculty of<br>Music, School of<br>Graduate
3
Sloan, Whitney-Leigh. "Role of "Mimi" in "La Bohème" : composer : "Giacomo Puccini"." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/32350.
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The thesis for the Master of Music degree in Opera consists of the performance of a
major role in one full opera production in the first or second year.
My major role in one full opera production was "Miml" performed in "La Boheme" on
"February 9 and February 11, 2007".<br>Arts, Faculty of<br>Music, School of<br>Graduate
4
Krejčí, Václava. "Giacomo Puccini - Opera Edgar- studie interpretačních problémů role Tigramy." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79446.
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In my master Thesis I decided to deal with the first full-lenght opera from Giacomo Puccini Edgar, with the auxiliary view of the lead role Tigrana. In the first part of my work I´m describing the rise of verism and it´s top personators with the inclusion of their fundamental work. Then I consider about the childhood and music starts of Giacomo Puccini. In the next chapter I follow the first Puccini´s opera Le Villi. I mention here the factors, the storyline and the interpretation problems of this opera. After this, my work is only about the opera Edgar. I describe the storyline and the factors of it´s creation, I also compare opera Edgar with the other veristic operas. At the end of my work I describe my professional experience with the role of Tigrana and the introduction of this opera in the Theatre F.X.Šalda in Liberec.
5
Lituhayu, Cahaya. "G. Puccini Turandot." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202816.
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The complete process of Giacomo Puccini?s opera called Turandot for DAMU International Master Degree final tasks, that includes the analysis of the play, the characters studies, performance references, the design process and the result of the model making and the photographs The writer personal view on how the story influenced her to created the space.
6
Seifert, Andrew. "Giacomo Puccini's Suor Angelica, production considerations : based on the University of Washington's 2006 production /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11431.
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Howe, Teresa Metzger. "Rodolfo and Mimi : a study of the powerful blend of lyrics and music in Puccini's La Bohème /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11361.
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Kim, Soo Hong. "The Songs of Giacomo Puccini: An Analytical Study of His Style and Self-borrowing." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935714/.
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The songs of Puccini provide another approach to understanding the composer's musical development. The objective of the study is twofold; first to provide a discussion of the musical style of Puccini's songs; and second, to show how Puccini utilized and integrated the preexistent material into the operas. The songs are grouped and characterized in three stylistic periods. In each period, Puccini was concerned with different issues in text setting. They anticipated or corresponded to the musical style of his operas, and this is evident by his use of the earlier songs in the later operas. Three examples of such cases are examined. The details involved in the transformation of self-borrowing are illustrated in terms of recomposition, expansion of the vocal line and orchestration. Each case illustrates the textual and/or musical consideration by Puccini of the original source for the new dramatic context of the opera. The borrowed material, often incorporated with new themes and expressive orchestration, blooms as an effective dramatic piece of music in his operas. In addition to the lecture recital, based on the dissertation and given on June 23, 1997, three other public recitals were performed. The first, on February 27, 1989, included works of Schubert, Brahms, Wolf, and Strauss. The second program, an operatic performance of The Queen of Spades by Tchaikovsky, was given on April 20, 1991. The third recital was performed on February 20, 1995, and included works by Handel, Mozart, Stravinsky, Schubert, Poulenc, and Turina.
9
Baldi, Fiammetta <1991>. "La Fondazione Giacomo Puccini di Lucca: prospettive storiche ed economiche." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15611.
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L’elaborato propone uno studio approfondito della Fondazione Giacomo Puccini di Lucca, Fondazione attiva nella città di Lucca dal 1972. La tesi ripercorre la storia della Fondazione dalla nascita alla sua affermazione nel territorio Lucchese come centro culturale che nel corso degli anni ha operato su vari fronti. È stato dato un quadro generale riguardo la biografia del Maestro Giacomo Puccini, analizzando in particolare il rapporto con la città che ha gli ha dato i natali e fornendo una analisi del brand Puccini. Dopo di che l'elaborato si concentra prettamente sulla Fondazione: sono state conseguite analisi a livello manageriale, economico e finanziario, cercando di comprendere l’impatto che essa abbia sul territorio e che tipologia di proposta culturale venga attuata nella città di Lucca. Sono state analizzate nel dettaglio le numerose attività della Fondazione nel corso della sua storia, con particolare riferimento alle iniziative culturali proposte nell’anno corrente. L'elaborato si chiude con l'analisi economico finanziaria della Fondazione al fine di fornire una comprensione globale circa la sostenibilità delle iniziative e i possibili investimenti da attuare in futuro.
10
Ferrell, Roger Scott. "The performance practices of Giacomo Puccini's "Che gelida manina" from La bohème : a study of stylistic development and transformation /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983124.
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Clark, Adele Cecilia. "The role of Suor Angelica in the opera Suor Angelica by Giacomo Puccini." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/29767.
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Anders, Micheal F. "Musical and dramatic structure in the finales of the operas of Giacomo Puccini." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371644096.
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Anders, Micheal F. "Musical and dramatic structure in the finales of the operas of Giacomo Puccini /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400410863.
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Lai, Daniela. "Puccini et les structures imaginaires de l'opéra : voix et voies des personnages féminins." Toulouse 2, 2005. http://www.theses.fr/2005TOU20094.
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L'œuvre de Giacomo PUCCINI ne saurait contenir dans ses seuls personnages féminins les plus connus et qui méritent, de se focaliser sur un élément fondamental d'expression de ces femmes pucciniennes dans leur totalité : leur voix, qui établit un rapport privilégié entre sources littéraire, musique et parole, chant. Tout d'abord le passage d'une idée et d'une source littéraire à la construction du personnage vocal. C'est à ce moment que s'opère la mise en œuvre du musicien/ démiurge qui recherche la voix, pas seulement dans le sens technique ou musical du terme. En partant de la tradition, PUCCINI essaye de trouver une liaison entre le rôle, figé, et la voix, prédéterminée, à l'intérieur du même registre vocal. Ce dernier n'est pas seulement employé dans une valeur acoustique et physique, mais il acquiert, soudain, un sens dramaturgique intrinsèque. C'est la voix en mouvement, en action qui devient un véritable miroir du personnage, qui reflète désormais l'image du personnage féminin vocal. Deux voix principales s'en dégagent à travers deux personnages catalyseurs du langage musical puccinien qui se termine sur un point d'orgue où l'image est la voix, celle de TURANDOT<br>Giacomo Puccini's complete works should not be only restricted to his most reputed female characters. They deserve to be foused on one basic element of expression these "puccinian" ladies thouroughly possess : their voices that blessedly connect literrary sources, music, words and singing. First, the transition from an idea and a literary source to the construction of the vocal character. The implementation of the "musician- creator", who is seeking after the voice, comes then into reality ; not merely technically or musically. Starting from tradition, PUCCINI tries to connect both the locked character part and the voice, predetermined, within the very same vocal register. That register is not only used in its acoustic ans physical value. It becomes the voice itself, moving and acting. It turns into a mirror image of the character, and from then on, reflects the vocal female character. Two major voices come out through two characters catalysing Puccini's musical language, and eventually end up on a pause sign where the image is the voice, Turandot's
15
Brogelová, Simona. "Lesní roh v operní tvorbě Giacoma Pucciniho." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-358376.
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The diploma thesis „The French horn in operatic works of Giacomo Puccini focusing on operas Tosca, Madama Butterfly and Turandot“ deals with the composer’s life, his operas and instrumental treatment with the French horn. Part of the thesis is the analysis of selected three operas from player’s view on this royal instrument. This thesis aims to bring parts of the French horn from Puccini operas to common reader and help professional musician with their playing.
16
Cho, Chul Hyung. "Madame Chrysanthème : the opera and its relationship to Madame Butterfly /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11430.
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Milica, Stojadinović. "Драматска карактеризација Пучинијевих хероина". Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2016. https://www.cris.uns.ac.rs/record.jsf?recordId=100626&source=NDLTD&language=en.
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Са само пет наслова од дванаест опера колико је укупно написао, Пучини већ више од века доминира у репертоару свих светских оперских кућа, од најмањих до највећих, што га ставља у исти ранг са Моцартом, Вердијем, Вагнером. Његова популарност је тако велика не само због изванредне музике и сјајног осећаја за оркестрацију, него управо због сасвим специфичног начина на који је Пучини драматуршки третирао своје главне протагонисте. Нарочити афинитет је имао ка савршено нијансираном креирању хероина. Управо су његове хероине главно обележје његовог стваралаштва. Како је опера уметност заснована на синтези две уметности – драмске и музичке, реч је о раду који истражује главне женске ликове анализирајући упоредо драматуршка и музичка средства која је композитор користио и које има за циљ да дође до општих закључака о емоционалном аспекту хероина у значајном делу стваралаштва Ђакома Пучинија, у операма Боеми, Тоска, Мадам Батерфлај и Турандот.<br>Sa samo pet naslova od dvanaest opera koliko je ukupno napisao, Pučini već više od veka dominira u repertoaru svih svetskih operskih kuća, od najmanjih do najvećih, što ga stavlja u isti rang sa Mocartom, Verdijem, Vagnerom. NJegova popularnost je tako velika ne samo zbog izvanredne muzike i sjajnog osećaja za orkestraciju, nego upravo zbog sasvim specifičnog načina na koji je Pučini dramaturški tretirao svoje glavne protagoniste. Naročiti afinitet je imao ka savršeno nijansiranom kreiranju heroina. Upravo su njegove heroine glavno obeležje njegovog stvaralaštva. Kako je opera umetnost zasnovana na sintezi dve umetnosti – dramske i muzičke, reč je o radu koji istražuje glavne ženske likove analizirajući uporedo dramaturška i muzička sredstva koja je kompozitor koristio i koje ima za cilj da dođe do opštih zaključaka o emocionalnom aspektu heroina u značajnom delu stvaralaštva Đakoma Pučinija, u operama Boemi, Toska, Madam Baterflaj i Turandot.<br>With only five out of the twelve operas he wrote, Puccini has been dominating the repertoire of opera houses of the world, from the smallest to the largest ones, for more than a century. This puts him on par with Mozart, Verdi, Wagner. He is so well known not only for the excellence of his music and a great sense of orchestration, but also for the very specific ways in Puccini's dramaturgical treatment of his main protagonists. He has shown special affection towards his perfectly nuanced creation of heroines. It was his heroines that turned out to be the main feature of his whole opus. As the opera as an art is a synthesis of two arts - drama and music, this thesis analyzes the main female characters by simultaneously focusing on the dramaturgical and musical resources which the composer used, and it aims to reach more general conclusions about the emotional aspect of his heroines in a significant part of the creative work of Giacomo Puccini, in his operas La Boheme, Tosca, Madama Butterfly and Turandot.
18
Steadman, Amanda. "Images of Japonisme the portrayal of Japan in select musical works /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1249250727.
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Bijok, Tomáš. "Práce operního interpreta." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156029.
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This work begins with an introduction where I explain the goal of this text. I continue with an overview of my beginnings with work on Il Tabarro from Puccini. I shortly discuss some historical details concerning the opera and give a synopsis of the plot.Then I discuss, in some deatil, the working processes of learning the opera, and give practical suggestions in regards to systematic technigues for learning an opera. I discuss the importance of very soecific work with the breath during the study process. Then I shift the conversation to the dramatic content of the opera which is followed by an interview with Zdeňka Sajfertova. I then offer my own interpretation of the characters, their relationships, and conflicts.The text continuer with a discussion about how our work largely depends on co-working with others, I end with interviews which I conducted as an informational basis for this thesis, followed by a few closing words.
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Wei, Mei-Yu. "Littérature et musique : Manon Lescaut de l'Abbé Prévost sur la scène de l Opéra : Massenet et Puccini." Paris 12, 1998. http://www.theses.fr/1998PA120068.
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Cette etude est consacree a la transformation du roman de l'abbe prevost (16971763), manon lescaut en livret d'opera. Jules massenet (1842-1912) et giacomo puccini (1858-1924) ont traduit l'action romanesque et les sentiments amoureux en langage musical. Histoire du chevalier des grieux et de manon lescaut, publiee en 1731, est l'unique chef-d'oeuvre de prevost. Manon lescaut est un roman sentimental. L'action est situee a paris vers 1720 ; l'auteur peint une fresque de la societe corrompue sous la regence en pleine effervescence. Le roman a une structure fermee, car la narration, a la premiere personne, restitue les evenements et les caracteres sous la forme d'une retrospective. Depuis la parution du roman, plusieurs operas, inspires de manon lescaut ont etes crees. La these se propose de comparer l'opera-comique de massenet et le drame lyrique de puccini. Par les emprunts au genre de l'opera-comique, massenet ressuscite l'atmosphere sensuelle du xviiie siecle. Le pastiche reussi des formes anciennes rappelle l'esprit libertin du roman de prevost. En composant une musique toute en nuance, massenet se situe dans la tradition de bizet et de gounod. Sa palette orchestrale est particulierement riche et met en valeur le texte chante. Puccini, successeur de verdi, contemporain du veriste leoncavallo, est influence par des grands courants du renouvellement du langage musical au debut du xxe siecle. Il traduit l'oeuvre a travers sa sensibilite italienne. Sa partition, qui exprime une passion vehemente et desesperee, est proche du pathetique de prevost. Les deux operas se completent l'un l'autre : l'opera-comique de massenet restitue l'atmosphere de fragonard et de watteau, la sensualite libertine du roman ; le drame lyrique de puccini donne libre cours a l'ardeur passionnee, maitrisee chez le compositeur francais. Ainsi, les deux operas refletent integralement l'esprit du roman, a la fois leger et frivole, passionne et tragique.
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Jarvis, Brian Edward. "Formal Structure in Puccini's Suor Angelica: Expanding Hepokoski's Rotational Analysis." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1307806816.
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Horton, Marvin Darius. "Butterfly, butterfly : ideals, intrigue and cross-cultural contacts." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1074532.
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Madame Butterfly is analyzed as a cultural icon. Puccini s Madaina Butterfly and the Butterfly icon, i.e. the submissive Oriental beauty who cannot live after her Western lover betrays her, permeate Western stereotypes of Eastern culture. Through this mindset, miscommunication develops. This concept was popularized in David Henry Hwang's play M. Butterfly, which builds upon Puccini's opera. Through the character's misperceptions of each other, the opera's tragic ending is repeated in Hwang's play after the French diplomat Gallimard realizes that his ideal woman is actually a male spy. Traditions regarding homosexuality and cross-dressing help Song to create Gallimard's feminine ideal. The theater contributes through tan and onnagata roles where men are trained to create perfect feminine illusions. These stereotypes are problematic because they do not allow for the complexities that exist in the theater, on film, and in actual events. Through increased sensitivity and awareness, individuals can see past the stereotypes to see other's complexities.<br>Department of English
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Agnello, Carmelo. "L'opera contemporain italien : une illustration des problemes de la representation de l'oeuvre lyrique aujourd'hui." Paris 8, 1996. http://www.theses.fr/1996PA081221.
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Le theme de cette recherche est l'analyse de la production lyrique contemporaine italienne (puccini, dallapiccola, berio, nono) en mettant en valeur les incidences de l'ecriture musicale dans le traitement du texte et ses repercutions sur la representation lyrique telle qu'elle devrait apparaitre aujourd'hui. L'opera italien contemporain propose une nouvelle forme d'ecoute ainsi qu'un nouveau rapport du spectateur a l'image de la scene. La constitution de l'image incombe au metteur en scene desormais considere comme veritable lecteur / createur de l'oeuvre, celui sans qui l'oeuvre ne peut exister. La place du metteur en scene est inscrite dans l'oeuvre et le travail effectue sur l'oeuvre contemporaine s'avere necessaire aussi pour l'oeuvre du passe. The purpose of this research is to analyse the contemporary italian opera production (puccini, dallapiccola, berio, nono). We tried to see what sort of consequences the new way of writing music and considering text had on the opera representation. The italian contemporary opera proposes a new way of listening music and a new relation between the audience and scenical image. The new image has to be produced by a new kind of stage director considered as a real artist who can give an interpretation of the work. That's the only way opera can still exist. The part of the stage director is clearly request in modern opera, but it becomes necessary in productions of repertory operas too.
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Hartgraves, Youna Jang. "Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011843/.
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As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.' This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. These giovane scuola composers include Alfredo Catalani (1854 –1893), Umberto Giordano (1867 –1948), Pietro Mascagni (1863 –1945), Giacomo Puccini (1858 –1924), and Riccardo Zandonai (1883 –1944). Descriptions of the soprano voices that premiered these roles are included in this document to determine the suitability of the lirico-spinto soprano voice for each role.
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Rosenthal-English, Miriam. "Giacomo Puccinis La Fanciulla del West : Eine neue Opernkonzeption im Oeuvre des Komponisten /." Berlin : E. Kuhn, 1997. http://catalogue.bnf.fr/ark:/12148/cb38982199b.
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Murad, Maria Ceres Rodrigues. "A ópera como mediador no processo de aprendizagem e desenvolvimento de crianças de baixa renda cursando a 1ª série do ensino fundamental: uma perspectiva vigotskiana." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/16390.
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Previous issue date: 2008-06-02<br>The present research shows how a project aimed to develop the reading, writing and
drawing abilities of students from the lower economic layers of Brazilian population,
as well as to improve their musicality, dancing and staging promotes learning and
development for all children enrolled in the 1st. grade of basic schooling. For such, it
was developed a project called Opera for All (OFAP), involving 31 pupils of a
community school, located in the periphery of São Luís, Maranhão, a northeast state
of Brazil. The basic assumptions of the research were taken from Vygotskian social
historical theory, in special the idea that what is lived through concrete actions is
converted in abstract material, in superior mental functions. Since this is an Art
project, contradictions typical of this area were generated, provoking choc,
destruction and also overcoming of these feelings, promoting, consequently,
development. The study offers consistent results, especially in what concerns
voluntary attention, self-regulation and self-knowledge. The research points out that:
a) the rhyme is an important mediator for autonomous writing, notably when the
students are in the processing of acquiring reading and writing abilities; b)
observational drawing acts as a facilitator for the elaboration of personal drawings,
offering details and references easily appropriated by 6 to 7 years old children; c)
both rhymes and observation drawing, when practiced, promote voluntary attention,
memory and imagination. The research concludes that the staging and the
appreciation of an Opera by children, under the supervision of adults, using well
structured activities and meaningful material, involve active and creative actions,
which, in turn, propel human development<br>A presente pesquisa mostra como um projeto de apreciação, leitura, escrita,
desenho, musicalização, dança e encenação de uma ópera pode promover a
aprendizagem e o desenvolvimento de alunos oriundos das camadas de baixa renda
da população brasileira, freqüentando a 1ª. Série do Ensino Fundamental. Para o
estudo, foi desenvolvido o Projeto Ópera para Todos (POPT) junto a 31 crianças
de uma escola comunitária, situada na periferia de São Luís, Maranhão, nordeste do
Brasil. Os estudos foram realizados com base nos pressupostos teóricos
vigotskianos, em especial o de que tudo aquilo que é vivenciado por meio da ação
concreta se converte em material abstrato, ou seja, em funções mentais superiores.
Como a vivência descrita deu-se no campo das artes, as contradições aí implícitas
foram responsáveis por choques, destruição, superação e desenvolvimento dos
envolvidos. O estudo oferece resultados consistentes sobre o desenvolvimento da
atenção voluntária, da auto-regulação da conduta e do autoconhecimento. O
trabalho sugere, ainda, que: a) a rima é um mediador importante para a escrita de
autoria por parte de alunos que se encontram no início do processo de
aprendizagem da leitura e da escrita; b) o desenho de observação atua como
facilitador para a elaboração de desenhos de autoria, oferecendo detalhes e
referências facilmente apropriadas por crianças na faixa etária de 6 a 7 anos; e c)
que tanto a rima como o desenho de observação, ao serem exercitados, promovem
a atenção voluntária, a memória e a imaginação. A pesquisa conclui que a
apreciação e encenação de uma ópera por parte de crianças e sob a supervisão de
adultos, por empregar atividades estruturadas e materiais significativos, envolvendo
ações ativas e criativas, impulsionam o desenvolvimento humano
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FEDERICO, LUCA. "L'apprendistato letterario di Raffaele La Capria." Doctoral thesis, Università degli studi di Genova, 2020. http://hdl.handle.net/11567/1005664.
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Superati «novant’anni d’impazienza» e dopo un lungo periodo votato all’autocommento e all’esplorazione delle proprie intenzioni, Raffaele La Capria ha raccolto le sue opere in due Meridiani curati da Silvio Perrella. La Capria ne ha celebrato l’uscita nella prolusione inaugurale di Salerno Letteratura, poi confluita nel breve autoritratto narrativo "Introduzione a me stesso" (2014). In questa sede, l’autore è tornato su alcuni punti essenziali della sua riflessione sulla scrittura, come la relazione, reciproca e ineludibile, fra tradizione e contemporaneità. All’epilogo del «romanzo involontario» di una vita, La Capria guarda retrospettivamente alla propria esperienza come ad un’autentica educazione intellettuale. Perciò, muovendo da un’intervista inedita del 2015, riportata integralmente in appendice, la tesi ha l’obiettivo di ricostruire l’apprendistato letterario di La Capria dai primi anni Trenta, quando l’autore ancora frequentava il ginnasio, fino all’inizio dei Sessanta, quando ottenne il premio che ne avrebbe assicurato il successo. Il percorso, che riesamina l’intera bibliografia lacapriana nella sua varietà e nella sua stratificazione, si articola in una serie di fasi interdipendenti: la partecipazione indiretta alle iniziative dei GUF (intorno alle riviste «IX maggio» e «Pattuglia»); l’incursione nel giornalismo e l’impegno culturale nell’immediato dopoguerra (sulle pagine di «Latitudine» e di «SUD»); l’attività di traduttore dal francese e dall’inglese (da André Gide a T.S. Eliot); l’impiego alla RAI come autore e conduttore radiofonico (con trasmissioni dedicate a Orwell, Stevenson, Saroyan e Faulkner); la collaborazione con «Il Gatto Selvatico», la rivista dell’ENI voluta da Enrico Mattei e diretta da Attilio Bertolucci; e le vicende editoriali dei suoi primi due romanzi, “Un giorno d’impazienza” (1952) e “Ferito a morte” (1961), fino alla conquista dello Strega. La rilettura dell’opera di uno scrittore semi-autobiografico come La Capria, attraverso il costante riscontro di fonti giornalistiche, testimonianze epistolari e documenti d’archivio che avvalorano e occasionalmente smentiscono la sua versione dei fatti, diventa allora un’occasione per immergersi nella sua mitografia personale e avventurarsi in territori finora poco esplorati: come la ricostruzione del suo profilo culturale, a partire dal milieu in cui La Capria vive e opera, o l’incidenza delle letture e delle esperienze giovanili sulla sua prassi letteraria.
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Lester, Laurie Domingue Olsen Stanford. "The songs of Giacomo Puccini." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-11012007-145711/.
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Treatise (D.M.A.) Florida State University, 2007.<br>Advisor: Stanford Olsen, Florida State University, College of Music. Title and description from dissertation home page (viewed 3-25-2008). Document formatted into pages; contains 56 pages. Includes biographical sketch. Includes bibliographical references.
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Southall, John K. Madsen Clifford K. "The effect of purposeful distractors placed in an excerpt of Puccini's La Bohème to ascertain their influence on the listening experience." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-09222003-214844/.
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Dissertation (Ph. D.) -- Florida State University, 2003.<br>Advisor: Clifford K. Madsen, Florida State University, School of Music. Title and description from dissertation home page (viewed 9-23-04). Document formatted into pages; contains 272 pages. Includes biographical sketch. Includes bibliographical references.
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Ling, kuo Wuei, and 郭瑋伶. "The Characteristics of Mimì in La Bohème by Giacomo Puccini." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/sftrb5.
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碩士<br>國立臺南藝術大學<br>音樂學系碩士班<br>105<br>The female role, Mimì, in Giacomo Puccini’s (1858-1924) famous opera, La Bohème, is well received by both audience and sopranos. The lovely appearance of this role comes from the original French novel, Scènes de la Vie de Bohème, by Henri Mürger (1822-1861). However, her appealing characteristics is not completely adapted from the original novel, but recreated by Puccini. This study is based on a singer’s point of view, with two arias of Mimì as examples, to explore the characteristics of Mimì recreated by Puccini through revised libretto and music.
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Ko, Miao-ching, and 柯妙青. "The Research of the Soprano Ariasfrom《La Bohème》by Giacomo Puccini." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/31970830616533171591.
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碩士<br>國立臺南大學<br>音樂學系教學碩士班<br>99<br>“La Bohème” is one of the three famous operas of Puccini, and is still the most popular opera repertoire in the world. This thesis is through the female roles of Puccini''s opera “La Bohème ” - Mimi and Musetta as the object, to confer how Puccini dealt with the female characters on the similarity and differences of music processing as a research topic.
First, penetrates the Italian opera evolution through the development of Italian opera, and the influence of 19th century’s realism; then, understands the creative background of “La Bohème” and the script’s features by way of Puccini and Henry Murger''s life experience. In the end, discusses and reorganizes how Puccini dealt with the female role characters - Mimi and Musetta in the play on the similarity and differences of the musical processing through "They call me Mimi"（Mi chiamano Mimì）, "back to my original place"（Donde lieta usci）, "When I walk"（Quando men vo） these three arias’ music analysis and studies of Puccini’s opera composition style, look forward to more in-depth understanding of “La Bohème” original appearance.
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Chou, Ting-Huei, and 周庭卉. "An Analysis and Interpretation of Four Soprano Arias by Giacomo Puccini." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/83433130058606203897.
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碩士<br>臺北市立大學<br>音樂學系<br>104<br>Literatures and operas in late nineteenth century were mainly based on Realism which focused primarily on pressing close to the general public and depicting the real and truthful sides of characters. Hence, it was necessary for composers to apply melody, harmony, and lyrics to sculp personalities and emotions for their characters. And Giacomo Puccini （1858-1924）is regarded as one of the most important composers for Realistic Operas.
In this paper, the author began with research in Bel Canto which rose from Realism, and further addressed its characteristics for understanding the difference in singing methods of Bel Canto in Realistic Operas versus the traditional methods in the past. Meanwhile, Puccini’s compositional style and characteristics were comprehended through his life and backgrounds. Finally, stories of 《Manon Lescaut》 and 《La Bohème》, Puccini’s two important operas, were introduced. And four arias sung by leading actresses of these two operas, i.e., Manon’s “ Sola, perduta, abbandonata” and “In quelle trine morbide”, as well as Mimi’s “ Si, mi chiamano Mimì”, and “ Donde lieta uscì” were also included. They were used to analyze the melody, harmony, tonality and the connection between lyrics and melody in order to verify musical characteristics of Realism with Puccini's compositional techniques. Interpretation highlights and recommendation for singing of these arias were also presented by the author.
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CHENG, YU-HUSAN, and 鄭郁璇. "An Analysis and Interpretation of Liù’s Ariasfrom Opera “Turandot” by Giacomo Puccini." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/x6qq8q.
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碩士<br>國立高雄師範大學<br>音樂學系<br>107<br>The purpose of this thesis is to study the character of “Liù”in Giacomo Puccini's Turandot,based on the two soprano's arias of “Liù”.
This thesis includes the following parts: history of Realism, the origin of the composition, the analysis of the character of “Liù”.
Key word：Realism、Turandot、Liù
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Chen, An-Ni, and 陳安妮. "An Interpretation of Cho-Cho-San’s Four Arias from Madama Butterflyby Giacomo Puccini." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/94397832663534300521.
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LI, HAO-PING, and 李浩平. "The research of Tenor Aria〈Che gelida manina〉from《La bohème》by Giacomo Puccini." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/g75ka2.
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碩士<br>國立臺東大學<br>音樂學系碩士班<br>106<br>This research is about opera La bohème which is written by Puccini, discussing from the angle of his entire life and the story context of La bohème, including the musical interpretation performance of the main character Rodolfo.
For bringing performance method of the Tenor into focus, the Aria of tenor Rudolph, Che gelida manina, is chosen here for the interpretation of musical composition and performance, and therefore the original concept of the composer is more comprehended.
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LIAO, CHU-LIN, and 廖祝琳. "The Research of the Soprano Scene and Arias from “Il Trittico” by Giacomo Puccini." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/44z55n.
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碩士<br>國立臺南大學<br>音樂學系碩士班<br>107<br>Giacomo Puccini was the most important composer of realism opera. The style of his music is particular, multiple and is popular with people.
By inquiring source, development and evolution of opera, the purpose of this study was to investigate Puccini’s life, living background, opera’s style and technique of Puccini. Further, research the music style of《Il Trittico》and use the scene and arias of soprano: “È ben altro il mio sogno!” from “Il Tabarro”, “Senza mamma” from “Suor Angelica” and “O mio babbino caro” from “Gianni Schichi” to analyze how Puccini interpret humanity and construct plot by his music.
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Hsu, Yi-Huei, and 徐逸卉. "The Musical Analysis and Interpretation of Manon in the Opera"Manon Lecaut"by Giacomo Puccini." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/j49ky9.
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Legault, Matilde. "L’instrumentalisation des opéras de Giacomo Puccini par le régime fasciste italien : le cas de Turandot." Thesis, 2020. http://hdl.handle.net/1866/25687.
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Ce mémoire porte sur l’instrumentalisation politique de la figure du compositeur Giacomo Puccini (1858-1924) et de ses œuvres, plus spécifiquement Turandot (1926), pendant la période fasciste en Italie (1922-1945). Il traite de la dichotomie entre tradition et modernité présente dans la propagande culturelle fasciste, notamment dans la réappropriation du mythe de Puccini à la suite de son décès en 1924, puis de façon exacerbée dans l’utilisation politique de Turandot, plus particulièrement au moment de la création de l’opéra en 1926.
Cette recherche repose sur l’étude de la presse italienne et des revues culturelles de l’époque afin d’analyser la manipulation du discours entourant la figure de Puccini. L’exploitation de son statut de compositeur national, le développement de son image d’homme du peuple et l’exaltation de son génie musical, vu à la fois comme universel et italien, ont permis aux représentants du régime d’héroïser Puccini selon les divers idéaux fascistes.
Ultimement, ce mémoire vise à montrer comment Puccini a fait l’objet d’une récupération idéologique afin de favoriser un consensus populaire et une consolidation identitaire permettant la légitimation du pouvoir mussolinien. Ce cas de figure exemplifie les effets de la rhétorique et des mécanismes culturels d’une hégémonie totalitaire dans la vie musicale d’une nation.<br>This thesis explores the political appropriation of composer Giacomo Puccini (1858-1924) and his operas during the fascist period in Italy (1922-1945). It highlights the dichotomy created by the regime’s insistence on both tradition and modernity in its cultural propaganda, as mirrored in the reinterpretation of the myth surrounding Puccini after his death in 1924—particularly in the political use of Turandot after the opera’s 1926 premiere.
Based on a detailed study of the Italian press of the time and of cultural magazines controlled by the regime, this research analyzes the manipulation of the discourse surrounding Puccini’s image in fascist Italy. Party members exploited Puccini’s myth by insisting on his status as a national Italian composer, his image as a man of the people, and his musical genius, considered as both universal and quintessentially Italian. Through this rhetoric, Puccini became a standard-bearer of fascist ideology, praised both as a composer of the great Italian opera tradition and as a highly modern creator.
Ultimately, the aim of this thesis is to understand how Puccini was subjected to an ideological appropriation that legitimized fascist authority by fostering social consensus and establishing a strong Italian collective identity. Puccini’s case exemplifies the effects of a totalitarian regime’s rhetoric and cultural mechanisms on the musical life of a nation.
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Davis, Sandra K. 1936. "Metamorphosis of a butterfly : Puccini and the making of a powerful tragic heroine." Thesis, 2005. http://hdl.handle.net/10125/11761.
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Thesis (Ph. D.)--University of Hawaii at Manoa, 2005.<br>Includes bibliographical references (leaves 257-269).<br>Also available by subscription via World Wide Web<br>ix, 269 leaves, bound ill., music 29 cm
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Davis, Sandra K. "Metamorphosis of a butterfly Puccini and the making of a powerful tragic heroine /." 2005. http://proquest.umi.com/pqdweb?index=13&did=982818201&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1235775261&clientId=23440.
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Zuvela, Perica. "The use of the clarinets and bass clarinets in combination with other instruments to potray the libretto of Puccini's opera Tosca." Diss., 2000. http://hdl.handle.net/2263/26369.
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The main aim of the study was to examine and discover the use of the clarinets and bass clarinet, in combination with other instruments, to portray the libretto in Puccini's opera Tosca. • scrutiny of the literature about Puccini's life and works, • an analysis of the score with emphasis on the clarinets', bass clarinet's and singers' parts and specific attention to the demands of the libretto, and • listening to a number of recordings of the opera A variety of different aspects are organized in the following chapters: Chapter 1 consists of general information about the study. Chapter 2 offers a short biography, while Chapter 3 provides a discussion about the libretto. In Chapter 4 the author deals with tonguing and articulation. Chapter 5 examines melodic aspects and Chapter 6 consists of views on dynamic aspects. In Chapter 7 a discussion about rhythmic aspects takes place, and in Chapter 8 the author explores the combination of the clarinets and bass clarinet with other instruments. Finally, Chapter 9 is a summary of the conclusions drawn in this study. • Puccini's predilection for continuous mixing of instrumental colours sometimes makes it difficult to separate the clarinet for analytical purposes. Nevertheless, the importance of the use of the clarinets or bass clarinet can clearly be detected. • Puccini employs all creative and technical capabilities of the clarinet and bass clarinet in creating and changing the atmosphere, depicting human emotions and emphasizing dramatic moments. • Carefully chosen and applied articulation, trills, tremolos and repeated notes in the clarinet and bass clarinet parts are Puccini's gestures in the expression of love, anger and fear. However, articulation in the clarinet and bass clarinet parts mainly matches the other instrumental lines in the orchestra. • Because the clarinet and bass clarinet blend well with any instrument and with the human voice, Puccini uses them in solo parts, in unison with the singer, or as an accompaniment to the singer's line. • As a consequence of Puccini's need to consciously pay minute attention to the details of the libretto, the structure, shape and length of the clarinet phrases constantly change. • Exploring the dynamic's capabilities of the clarinets and bass clarinet presents the wide palette of colours and nuances which these instruments can produce. Puccini uses a large number of dynamic markings in the clarinet and bass clarinet parts. They range between ppp and fff. The piano dynamic level is mainly used to suggest fear and suspicion or to portray lyrical moments in the libretto, while the forte level is a tool to create drama and express human anger, pain, or the struggle between good and bad. • Puccini puts very strong emphasis on rhythm as a device for illuminating the details of the libretto, stage actions, human feelings, and different atmospheres in the opera Tosca. The different rhythmical patterns and changes of metre affect all instruments. Sometimes the clarinet line has the same rhythmical figures as the rest of the woodwind, but very often the clarinet plays a different rhythm from the rest of the orchestra or the singer's melody.<br>Dissertation (M Mus (Performing Art))--University of Pretoria, 2007.<br>Music<br>unrestricted
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"Puccini's treatment of the heroines' death in La bohème, Tosca and Madama Butterfly." 1998. http://library.cuhk.edu.hk/record=b5896304.
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by Cheung Ki Kitty.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1998.<br>Includes bibliographical references (leaves 123-126).<br>Abstract also in Chinese.<br>Chapter 1 --- Introduction --- p.1<br>Chapter 2 --- La boheme (Mimi) --- p.7<br>Chapter 3 --- Tosca (Tosca) --- p.26<br>Chapter 4 --- Madama Butterfly (Cio Cio San) --- p.45<br>Chapter 5 --- Conclusion --- p.62<br>Appendix --- p.68<br>Bibliography --- p.123
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LEE, CHEM-XING, and 李晨興. "The Analysis and Interpretation Study of Selections from Opera Arias by Giacomo Puccini with Reference to Solo Recital Repertoire." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/556h7w.
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碩士<br>中國文化大學<br>音樂學系<br>104<br>Puccini was born in 1858 in Italy and died in 1924 at the age of 66.
After the romantic period, realism began. Realism is from real life, therefore the themes are closer to the community level, and Puccini was affected by it. The realistic approach is such, that each character has its debut in sharp contrast to one another, and smooth melody that accompanies the colorful orchestra, so that the content of the story and the characters would blend, resulting in a brilliant combination.
Puccini's opera tends to be romantic and realistic; harmonious music was created for every scene; the dramatic tension that captures the audience's mind makes Puccini's opera timeless.
In this article: First, using the background to understand the style and development. Second, using the Synopsis to understand the story development and character characteristics. Third, having no language barrier, and through lyrics translation, to understand every word and every meaning. Lastly, integrating the above discussion and studying it in detail.
Keywords: Puccini, opera, realism
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Boudreaux, Emily. "Defining Manon: Three Operas on Abbé Prévost’s Manon Lescaut." Thesis, 2013. http://hdl.handle.net/1911/71925.
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Abbé Prévost’s novel L’Histoire du chevalier des Grieux et de Manon Lescaut (1731) has inspired at least four operas, notably by Daniel Auber, Jules Massenet, Giacomo Puccini, and Hans Werner Henze. This study will look at the three nineteenth-century operas based on that novel: Auber’s Manon Lescaut (1856), Massenet’s Manon (1884), and Puccini’s Manon Lescaut (1893). Massenet’s treatment receives the most attention because it is the most popular, and arguably the most well-known, of the three operas. I will discuss Manon’s role in the novel and operas, and its impact on the dramatic conception of each work. In the three operas I will examine her arias and other music, and her relationships with other characters. The goal is to gain a better understanding of each composer’s interpretation of Prévost’s heroine and to explore why Manon is different in each work.
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Hsiao, Ting-Yu, and 蕭婷予. "The Interpretation and Analysis of art Songs of Giacomo Puccini：〈Mentìa l’avviso〉、〈Storiella d’amore〉、〈Sole e amore〉、〈E l’uccellino〉、〈Terra e mare〉、〈Canto d’anime〉、〈Morire? 〉." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/th7343.
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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>102<br>This report covers five chapters. The first chapter is the introduction, which includes the research motives and the scope of this research, from these viewpoints, see the style of his music on. The second chapter introduces composer’s life, learning , work experience, style and music works. The third chapter introduces the lyricist, background and translations of seven art songs: Mentìa l’avviso, Storiella d’amore, Sole e amore, E l’uccellino, Terra e mare, Canto d’anime, Morire?. The fourth chapter contains music structure and interpretation of seven art songs. The fifth chapter is the conclusion, an overview of the contents of chapters before, and to present paper's research makes uniform.
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"Il Trittico:Giacomo Puccini's Enigmatic Farewell to Italian Opera." Master's thesis, 2015. http://hdl.handle.net/2286/R.I.29739.
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abstract: The focus of this in-depth study is to look at the gestation, performance history, and reception of Giacomo Puccini's evening of three one-act operas called Il Trittico and differentiate the particular components, Il Tabarro, Suor Angelica, and Gianni Schicchi to analyze them for their individual stylistic elements of Italian Opera. These were the styles of verismo, pathos and sentimentality, and opera buffa. As substantiated by written criticism, the audience and the critics did not fully comprehend the hidden meaning behind the individual works of Il Trittico. Puccini, enigmatically, had chosen to present one last glimpse of outmoded Italian operatic traditions. In order to evaluate Il Trittico's importance in the history of Italian opera, this study will first review the musically changing landscape in Italy during the early to mid-nineteenth century, then the second part of the nineteenth and beginning of the twentieth-century when German, French, and eventually Russian music were starting to influence audience taste. Puccini who, over the course of his compositional life, absorbed and incorporated these different styles realized that long held Italian operatic tradition had reached a fork in the road. One path would ensure Italian composers a place in this new order and the other a stagnant dead end.
Even though Puccini's triptych garnered primarily negative reviews, the basis for this negativity was the perception that Il Trittico had broken with the historically traditional Italian musical styles. Though the present study acknowledges that break to a degree, it will also present a historically based rationale for the deviation, one left largely unnoticed by Puccini's critics. In the end, this author plans to realize their symbolic importance as a farewell to three uniquely Italian styles and a departure point for a new operatic tradition. Looking forward to the centenary of the work, this author seeks to illuminate how Puccini reached the pinnacle of firmly rooted genres of Italian opera. Ultimately this might help to unravel the enigma of Il Trittico while it continues to secure its rightful place as one of the masterpieces of the Puccini canon.<br>Dissertation/Thesis<br>Masters Thesis Music 2015
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LEE, CHI-HSUN, and 李奇勳. "The Interpretation and Analysis of the Arias〈Che gelida manina〉,〈Recondita armonia〉and〈E lucevan le stelle〉from the Opera La Bohème and Tosca by Giacomo Puccini." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/n687an.
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碩士<br>國立臺北藝術大學<br>音樂學系碩士在職專班<br>105<br>This thesis focuses on the opera “La Bohème” (1896) and “Tosca”(1900) by Giacomo Puccini (1858-1924). Explores in the context of Realism, from the composer and the playwright life creation to the opera content, with the two actors in the play of the three arias to make music interpretation and analysis.
In this thesis, it will be divided into different sections, including: introduction and five chapters and the conclusion. The first chapter is the introduction, which includes the research motives and the scope of this thesis. The second chapter introduces Puccini’s life and his musical style. The third chapter focuses on two opera playwrights’ life and the opera “La Bohème” and “Tosca”. The fourth chapter introduces social background of Italian Verismo opera development, composers and their operas. The fifth and sixth chapter introduces the composing background and plots of the “La Bohème” and “Tosca”, presents the musical analysis and singing interpretation of three arias from the opera. Through the research of “La Bohème” and “Tosca”, it hopes to deeply help the performers to interpret these two opera characters in the conclusion.
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Liu, Yi-En, and 劉亦恩. "Interpretation of Giacomo Puccini's 12 Art Songs." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/k98a9p.
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Martin, Shauna-Lee. "Role of Nella in Giacomo Puccini’s Gianni Schicchi." Thesis, 2002. http://hdl.handle.net/2429/12313.
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This Master's Thesis for the Master of Music (Opera) was the presentation of the role of NELLA in Puccini's
GIANNI SCHICCHI, performed March 9 and 10, 2002 at the Chan Centre for the Performing Arts. The role of
NELLA is that of one of the greedy relatives of the now deceased BUOSO DONATI, a pious Italian gentleman of
considerable fortune, who has left all of his money to the church rather than his relatives. NELLA is a niece of
BUOSO.
NELLA is approximately 35, shrewish and greedy, with a taste for the finer things in life. The greed of the entire
family is used by the title character, GIANNI SCHICCHI, to rob them of the choicer pieces of property - the mills at
Signa, a mule worth 30 florins, and the house of BUOSO DONATI. SCHICCHI pretends to be BUOSO and
changes the will to benefit the relatives, but at the last moment leaves the best items to himself, and the relatives can
do nothing as they will have their hands cut off for forgery if they are caught.
NELLA is a high soprano role, which can also be sung by a dramatic soprano, as Puccini's orchestration requires a
sizable voice with easy access to the top. My voice type is dramatic coloratura, which is a combination of agility,
dark colour, large size and extreme registers, so this role is ideally suited for me vocally.
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Jiang, Sin-Chi, and 江心慈. "The interpretation and Analysis of Giacomo Puccini’s Nine Art Songs." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/40313255136537977996.
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碩士<br>中國文化大學<br>音樂學系碩士班西洋音樂組<br>99<br>This paper investigates primarily musical works done by Giacomo Puccini other than his operas. The writer will select nine of Puccini’s musical works to serve as the object of this study and will carry out in-depth analysis of the musical composition, lyric translation, and performance interpretations.
The paper consists of four chapters. Chapter 1 is the Introduction, and discusses the research in motivation behind this paper as well as the research objectives, scope, methods, and finally, the literal expressions. Chapter 2 is covered by Puccini’s autobiography and the backgrounds of Puccini’s musical works. Chapter 3 is the analyzing of the musical composition, lyric translation, and performance interpretations of Puccini’s artistic works. Chapter 4 is the Conclusion.