Turandot: the new Puccini opera
From a correspondent
17 April 1926
It was only to be expected that a new opera by the lamented composer Giacomo Puccini should excite great public interest in Italy. It is not too much to say that the production of Turandot at the Milan Scala is awaited with scarcely less impatience than was Boito’s Nerone, another posthumous work.
Details are now available concerning the degree of completion arrived at before Puccini’s death. It is highly satisfactory to learn that the opera was within a fortnight of being finished and that Puccini has sent the greater part already to the publisher. Only the finale remained unready, and Franco Alfano, friend of Puccini, accepted the pious task, and has devoted himself to finishing the work according to indications afforded by the preceding material and Puccini’s individual style.
Puccini’s estimate of his last work may be worth quoting. Writing to the librettist, he says: “It seems to me that I have laboured (travagliato) well. It is possible I may deceive myself, considering the modern tendencies towards rough successions of sounds and discordance; where feeling, that feeling which gives me joy and pain, is abolished or kept at a distance. I have put all my soul into this opera. We shall see if my vibrations synchronise with those of the public.”
Puccini’s last opera: performance at Milan
26 April 1926
To-day was a historic date in the history of the Scala, where Puccini’s last opera Turandot was presented for the first time with Signor Toscanini as conductor. The opera was unfinished at the death of the composer. The Scala was resplendent and overcrowded with the elite of Italian society.
When the first melodious notes – so characteristic of the music of Puccini – came from the orchestra, the entire audience, deeply impressed, seemed to be rather celebrating a rite for a national master than witnessing a theatrical presentation. The sweetness and power of the music emphasised the bizarre Oriental subject which in places was reminiscent of Madame Butterfly. The scenery was painted by Signor Chini, a Florentine who established his reputation by his decoration of a palace for the King of Siam. Signora Raisa, the soprano, was ideal as the Chinese princess, while Signora Maria Zamboni was excellent as Liu, a character which also recalled Madame Butterfly. The part of the ardent, unknown prince was sung by the tenor, Signor Fleta.
The libretto by Signori Simoni and Adami greatly contributed to the success of the opera, which was repeatedly interrupted by outbursts of applause. There were persistent demands for encores, many of which were granted, while at the end of each act the singers and conductor were recalled time and again. The enthusiasm reached its climax at the conclusion of the opera, which on this occasion ended where it had been left unfinished by Puccini, who, a few weeks before he died, said to Signor Toscanini: “If I am unable to finish it let someone come before the curtain at this point to announce that the composer had carried it thus far and then – died.”
The opera is proclaimed to be one of Puccini’s greatest successes, displaying all the finest qualities of the composer. On future occasions it will be performed with the conclusion composed by Maestro Franco Alfano.
Turandot: first night at Milan Scala
By a correspondent
1 May 1926
It was a foregone conclusion that Puccini’s posthumous opera would excite both interest and sympathy. There was added to this a great measure of curiosity.
Puccini was breaking new ground in choosing as his subject the grotesque or fantastic play written by Carlo Gozzi in the 17th century and produced in Venice. This play was freely adapted by Schiller and the present libretto is again freely adapted – and affords every opportunity for Puccini’s lyrico-sentimental and dramatic vein.
The Scala was crowded, the last seat having been sold a week previously. The great curtain swung clear and revealed a charming view of the Imperial City of Peking under the rays of the setting sun.
A crowd assembles to hear the sentence of a young prince who has incurred the death penalty because he is unable to solve the three riddles which the Emperor’s daughter, the beautiful Turandot, imposes on all who seek her hands.
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