King Lear Puccini Research Paper

5. Smart, Mary Ann. Mimomania : music and gesture in nineteenth-century opera. Berkeley : University of California Press, 2004.

Both Shakespeare’s King Lear and Dante’s Inferno explore the reasons for and results of human suffering. Both works postulate that human suffering comes as a result of choices that are made. That statement is not only applicable to the characters in each of the works, but also to the readers. The Inferno and King Lear speak universal truths about the human condition: that suffering is inevitable and unavoidable. While both King Lear and the Inferno concentrate on the admonitions and lamentations of human suffering, there is one key difference between the works: the Inferno has an aspect of hope that is not present in King Lear.

Giacomo Puccini has written a number of operas, including Turandot, Gianni Schicchi, and Madama Butterfly. La Bohème is said to be “one of the most successful and enchanting operas ever written.” Written in the romantic period, the text and score interrelations play an important role in an overall aesthetically and historically pleasing opera. In a story of love found and love lost, Puccini uses text and score to create empathy for the characters of La Boheme. Puccini does so particularly in the aria Donde lieta uscì, sung by Mimi towards the end of Act III.

Another demonstrative incident during his leadership of the Vienna Opera was his attempts to present

Also he had composed keyboard pieces, oratorios, symphonies, and operas. He performed his first major opera when he was fourteen it was staged in Milan in 1770 the style of the opera was opera seria, Mitriade.

Act I of Puccini's La Boheme is an Opera that was written in1896. The song describes an encounter between a man and woman who eventually fall in love. The woman goes to a mans house to relight her candle. While she is there she faints, once she awakens she relights her candle then leaves. She quickly returns once she realizes she is missing her key.

As stated by Burkholder, Grout and Palisca, Weber’s Der Freischutz’s “rustic choruses, marches, dances and airs”; multisectional aria form (influence from Rossini) and florid vocal lines were all common characteristics of the Italian Opera. Meanwhile in Verdi’s Otello, Wagnerian influence could be seen. Verdi used melodic motives to show the characters’ emotions. In Act 4 scene 3, the orchestra was used to heighten the dramatic moment instead of the voice, which was a breakthrough in the history of Italian Opera. It is apparent that both Italians and Germans knew how to blend the musical elements and text well to demonstrate the Romantic traits in their opera.

There were also stricter demands of the solo singers. The two mid eighteenth century composers, Jomelli and Traetta played a big part in the reform of Italian opera in the late 18th century by influencing the French towards opera of a more international flavour.

Rossini is probably the most popular composer of this era. His works are many and are extremely popular. Rossini was born in Pesaro in 1792 and on December15th, 1815 when he was only twenty-three years old, he signed a contract to write an opera for a theater in Rome (Weaver, 11). His childhood friend, Gertrude Righetti Giorgi, premiered as Rosina in Rossin’s Il barbiere di Siviglia, on opening night for the Nobile Teatro di Torre Argentina (Weaver, 19). Il barbiere di Siviglia went on to become one of the more famous operas of Rossini’s. This opera went through many struggles, however, because of the similar story

Wilhelm Richard Wagner was one of the greatest opera writers of all time. He helped to take opera to a whole new level from even Verdi and Puccini. Some say that Wagner was very egotistic, however; “his extreme egotism rested on conviction, Wagner had the ability to do great things” (Colles 207). He was extraordinary at composing music as well as formulating words. He was not a prodigy however his musical skills surpassed many other composers from his time period.

Jean-Philippe Rameau, George Frederic Handel, and Christoph Willibald Gluck were the most significant opera composers of the first two-thirds of the 18th century. However, their works were surpassed by the brilliant operas of Wolfgang Amadeus Mozart. In the early 19th century, Gioacchino Rossini and Gaetano Donizetti dominated Italian opera. In the later 19th century the greatest works were those of Giuseppe Verdi and Richard Wagner. Wagner, with his bold innovations, became the most influential operatic figure since Monteverdi. Richard Strauss and Giacomo Puccini wrote the most popular late 19th- and early 20th-century operas. Though the death of Puccini in 1924 is often cited as the end of grand opera, new and often experimental works—by composers such as Alban Berg, Benjamin Britten, Gian Carlo Menotti, John Adams, and Philip Glass—continued to be produced to critical acclaim. Opera entered the 21st century as a vibrant and global art form.

As I had no idea of what to expect when entering this concert I went in with an extremely open mind. Even leading up to the intermission I wasn’t convinced that I was understanding the structure of opera. However, even with my very limited knowledge of opera I could come to a few conclusions. Fortuna and Townsend evidently worked well together, they were always in sync and fed off of each others talent. As well it seemed as if Fortuna was using an aspect of call and response to enhance her production. Her call would be in the form of a story and she would then answer her call with her singing. The show was slightly disrupted in the first half with a large group of people that had been late for the performance, I couldn’t visually see any signs of fault on Fortuna’s behalf when this occurred. An interesting aspect of Fortuna’s style was unlike anything I had ever seen before. Fortuna would make stable eye contact with specific sections in the audience, this portrayed the feeling that she was singing for the crowd and not herself.

Me as the Opera did also think about the reputation of the Opera and what could be fair as it was just a short time left before the first performance.

     The play, “King Lear” by William Shakespeare, starts with noblemen Kent and Gloucester having a conversation and the audience finds out that Gloucester has two sons. Edgar who is his heir, and Edmund his unimportant son. This info. leads to the mini-plot. Then, Lear enters to say that he is going to end his life’s tasks and problems. He then points to the map, he tells the people there that he will split his land into three parts. They are going to be given to his three daughters. The two oldest, Goneril and Regan, tell their father that their love for him goes beyond expectations. The youngest one, Cordelia, tells him that she loves him, but only as she should love her father. He is then

The beginning of the seventeenth century marked the start of opera in Italy. The earliest opera manuscripts to survive are the two settings of Euridici by Peri and Caccini (Grout 43). Although Euridici is the first known opera, Peri and Caccini were both not considered the founder of opera, that honor was instead given to Monteverdi (Grout 51). The reason for this may be because Euridici is said to contain many imperfections including: “weakness of characterization, the limited range of emotions expressed, the lack of clear, consistent musical organization, and above all the monotony of the solo style” (Grout 49). Grout explains that Monteverdi’s opera Orfeo “represents the first attempt to apply the full resources of the art of music to opera” (53). La morte d’Orfeo was the first secular opera performed in Rome in 1619 (Grout 62). This marked the beginning of serious secular opera. Opera continued to