Pietro Mascagni was a composer of great talent, even if today he remains in the opera conversation because of one great work. He was born on Dec. 7, 1863, in Tuscany. He began his musical studies at age 13 and by 1880, not yet 20, Mascagni had composed a number of works. His first cantata, “In Filanda” premiered in 1881. {…}
San Francisco Opera’s double bill of “Cavalleria Rusticana” and “Pagliacci” is fully set in the same neighborhood of La Boca in Buenos Aires, Argentina. It opens with women shaking bedding from the windows, waiters straightening up the chairs from last night’s wine, lovers snatching their last kiss. The characters then emerged from it and sang the story; at the end, {…}
“Pagliacci” and “Cavalleria Rusticana” is one of the signature double bills in opera that show offs the many qualities of a leading tenor. Both parts are known for their demanding vocal challenges and in many cases are sung by two different tenors. However, in the Metropolitan Opera’s current revival of David McVicar’s production, Roberto Alagna triumphed in two of his best {…}
In the beginning of the 20th-century there was a snootiness about verismo opera. All of its propagators – Puccini, Giordano, Mascagni, among others – were accused of simplifying opera by eliminating many of its challenges. Those long showy lines of coloratura were long gone. In place of it, the singers began interspersing notes and passages with great long sighs or {…}
We all know “Cavalleria Rusticana,” the great masterpiece of Pietro Mascagni, who was born on Dec. 7, 1863. Unfortunately, that’s all most people in the opera world and outside of it, know about the Italian composer. It’s actually quite unfortunate, given that “Cavalleria” was his very first opera and that he would go on to write 15 total, his final {…}
“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Martin Scorcese’s “Raging {…}
“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Francis Ford Coppola’s {…}
For decades Riccardo Muti has been one of the finest interpreters of Verdi’s music. In fact, his understanding of the great composer’s style has created countless imitators, but few with the capacity of truly understanding the balance between a propulsive rhythmic emphasis and the nuance of Verdian singing. On Thursday, June 22, 2017, the maestro showcased his interpretative genius with {…}
This article represents the first of our “Opera For Beginners” section. To celebrate the date of an opera’s world premiere, we will start to create separate profiles for operas that the uninitiated can reference for their learning pleasure! Mascagni’s “Cavalleria Rusticana” is one of the staples of the Verismo opera, a style of the late 1800s that showcased the lives {…}
Luigi Illica is a rather famous man in the world of opera. If you don’t believe me, then look at his body of work. “Manon Lescaut,” “La Bohème,” “Tosca,” “Madama Butterfly.” And those are just the Puccini selections. The librettist also authored such prominent opera works as “La Wally” and “Andrea Chénier.” But the majority of Illica’s output has been {…}
It’s the holiday season with Easter and Passover taking place at the same time. As a result, OperaWire is taking a look at some of the operas that are set during these very sacred holidays. Easter For those not familiar with what Easter Sunday celebrates, it is the resurrection of Jesus from the dead, described in the New Testament as {…}