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Giacomo Puccini is one of the most frequently performed and best loved of all operatic composers. In Il Trittico, Turandot, and Puccini's Late Style, Andrew Davis takes on the subject of Puccini's last two works to better understand how the composer creates meaning through the juxtaposition of the conventional and the unfamiliar -- situating Puccini in past operatic traditions and modern European musical theater. Davis asserts that hearing Puccini's late works within the context of la solita forma allows listeners to interpret the composer's expressive strategies. He examines Puccini's compositional language, with insightful analyses of melody, orchestration, harmony, voice-leading, and rhythm and meter.

A newly translated LIBRETTO of Puccini's GIANNI SCHICCHI with many music examples.

A comprehensive opera-guide, featuring Principal Characters in the Opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and Burton D. Fisher's insightful and in depth Commentary and Analysis.

A comprehensive guide to Puccini's IL TRITTICO (Il Tabarro, Suor Angelica, Gianni Schicchi), featuring insightful and in depth Commentary and Analysis of each opera, a complete, newly translated Libretto for each opera with Italian/English side-by side, and over 50 music highlight examples.

A newly translated LIBRETTO of Puccini's LA RONDINE (The Swallow) with many music examples.

A newly translated LIBRETTO of Puccini's SUOR ANGELICA, with many music examples.

You don't expect, from what is essentially a training festival, shows that eclipse many professional opera companies; that is, however, what these young singers offered. [...] the 80-year-old Maazel's conducting was world-class. Musically the strongest of the three works, and the evening's sole comic relief, it got an amusing update from Castleton's resident director, William Kerley (one of the bequests in the rich uncle's will, a mule, was here rendered as a life-size Damien Hirst-style artwork, preserved in formaldehyde).

The conductor, Stefano Ranzani in his Met debut, drew subtle shades and radiant hues from an orchestra in top form.

[...] L.A. Opera's season got underway Saturday night with a new production of three Puccini one-acts, known collectively as \"Il Trittico,\" and the final one was directed by a New Yorker famed for his antipathy to L.A. and for mocking just the kind of celebrity-conscious Hollywood society likely to show up for a Hollywood-themed L.A. Opera opening at the Dorothy Chandler Pavilion. Updated to Florence in the 1960s, it stars the veteran baritone Thomas Allen in the title role, and what fun he is in his Mafia striped suit and two-tone shoes, his hair slicked back and his mustache rakishly thin.

Puccini's triptych comprises three quite different one-act operas: \"Il Tabarro,\" a verismo shocker in which a jealous barge owner murders his wife's lover; \"Suor Angelica,\" the tale of an aristocratic nun who commits suicide when she learns that her illegitimate child has died; and \"Gianni Schicchi,\" a comedy about a crafty Florentine who helps a greedy family collect an inheritance while securing a good chunk of it for himself. Mr. Smith's set for \"Tabarro\" was the fanciest: the barge, the warehouses, the quay, the high bridge overhead, the Seine, a glimpse of Notre Dame de Paris in the background, plus stunning lighting by Jules Fisher and Peggy Eisenhauer, which moved the time from a brilliant sunset to full darkness, with twinkling lights. \"Suor Angelica\" unfolded in a similar manner. There was the big set: a stone cloister with a church. And a lighting coup at the end: when rays from heaven, symbolizing the Virgin Mary's forgiveness of Angelica's suicide, poured down, and the image of the Virgin and Child on the church facade became suddenly three-dimensional and weirdly lifelike. The opera starts with a lot of busy exposition among the nuns, and it was hard to tell from the directing who was talking to whom. Barbara Frittoli handled the vocal challenges of the title role easily, but her acting was fitful rather than organic, and her aria \"Senza mama,\" in which she grieves over her son's death, didn't touch the heart. Once again, it was left to [Stephanie Blythe] to wake things up. As Angelica's stony aunt, the Princess, she was icily composed as she gave her niece the news: She is unforgiven and disinherited, and her child is dead.