Ottorino Respighi [1879-1936]: The Pines of Rome [1924]
In a nation obsessed by contemporary opera, Respighi was something of an anomaly – a mainly orchestral composer, and one who was especially interested in music from earlier times. Respighi was born in Bologna in 1879 and by age 10 was a gifted violinist and violist. At one time he was a viola player in the Russian Imperial Theater of St. Petersburg. He moved permanently to Rome in 1913 and taught composition at the Conservatory. It is however, somewhat misleading to claim him as a writer purely of orchestral music, for he did in fact write nine operas. It's just that they are not in the standard repertoire.
In the same way that practitioners of the fine arts might be labeled landscape artist, portraitist, impressionist, etc. we might label Respighi as both a musical colorist and a portraitist. His unique compositional style gives us solid colors, laid on pretty thick. Certainly not the impressionist style of Debussy (1862-1918), and equally far from the predominant Teutonic style of Brahms (1833-1897), and the succeeding Germans. Respighi learned the fundamentals of scoring from he who, literally, wrote the book: Rimsky-Korsakov (1844-1908). But while the teacher may have espoused a more disciplined and logical ordering of instrumental pitch, the pupil proceeded to craft his own very distinctive and colorful style with chord structures the way he wanted them, not necessarily “according to Hoyle”.
Respighi's best known works fall into two categories: those based on or in the style of early music, such as Ancient Airs and Dances and The Birds; and those in the modern style, the best known of which comprise the Roman trilogy: three works, each depicting aspects of the city: Roman Fountains, Roman Festivals and of course The Pines of Rome.
The gardens of the Villa Borghese, Rome's second largest public park, lies just to the North of the city center. It is an oasis of green upland with many fine trees, including of course majestic pines, that can be seen from quite some distance. To be sure, there are many wonderful ancient and modern architectural sites to marvel at in Rome, but to me the pines of the Villa Borghese and elsewhere stand out in my memory more clearly than almost anything else. In Respighi's setting, children are at play, marching about. We can hear car horns from the fashionable Via Veneto.
On the plain, South of the city, not far from the Appian Way, are many of the catacombs, the burial chambers of the Roman (as in Empire) and early Christian nobles. The dark, cool atmosphere of the underground worlds of the dead are expressed in the third of the movements: Pines near a catacomb”. We hear the chanting of priests.
The Janiculum is a hill in Trastevere (just across the river from the main part of the city), and as such it is not one of the traditional seven hills. It's the site of the Villa Doria Pamphili, Rome's largest public park. Respighi's lovely nocturnal image of this hill with its wonderful views of the city is capped by a recording of a nightingale. Respighi was very insistent that, for the first time in a musical performance, the bird should be represented by a recording of itself.
The last movement and, incidentally the only one really appreciated by the first audience, depicts the ancient Appian Way which connects Rome with Apulia in Southeastern Italy. It is supposedly where Peter met Christ, asking “Domine, quo vadis?” (Lord, whither goest thou?). It is dawn and through the mists we can make out a Roman legion in the distance. The trumpets lead the way and we are overwhelmed, almost deafened, by the sounds of the army as it marches onward towards Rome.
Puccini
One of the greatest opera composers, Giacomo Puccini, was born in Lucca, Italy on the 22nd of December 1858 into a musical family. At the age of twenty one he was sent to study in Milan, at the time Italy’s cultural center. There he formed crucial relationships with already successful opera composers such as Catalani and Ponchielli, whom we don’t hear nearly as often as Puccini today. In 1883, Puccini’s first opera, Le Villi, was performed. He soon formed what was to be a lifelong connection with the publishing house of Ricordi. These early years were brilliant professionally, but Puccini’s personal life was difficult. He suffered greatly when his mother passed on and he began a relationship with Elvira Bontini, who was then married. He would be unable to marry her until 1904. In 1891, Puccini began work on Manon Lescaut, the success of which would ensure comfortable financial circumstances for the remainder of his life. The following three operas continue to be some of the most frequently performed in the repertory: La Boheme, Tosca, and Madama Butterfly. After these works were completed, Puccini again was faced with personal crises which this time delayed the completion of new works. Giuseppe Giacosa, who had collaborated with Luigi Illica on the libretti from La Boheme died, leaving Puccini without a librettist he could trust. The next operas did not achieve success on the scale of La Boheme, but in 1919 he began work on Turandot. He spent the final five years writing this opera, which was never finished. Although Franco Alfano completed the opera after the composer’s death; Toscanini lowered his baton at the last note Puccini had written when conducting the premiere. Giacomo Puccini continues to be revered as one of opera’s greatest composers.
The elegy for string quartet, entitled Crisantemi, was written in 1890 and performed at the Milan and Brescia Conservatories. It was published that same year. Puccini was still regarded as a composer of promise, but had not yet achieved fame when he wrote this piece. It was written on the death of Amadeo di Savoia, the duke of Aosta who also served briefly as the king of Spain. Puccini was to re-use the piece in his new opera, Manon Lescaut.
“A Tè” is one of Puccini’s few songs and it was written when Puccini was studying at the Istituto Musicale Pacini. The date of composition is unknown. It is a love song from which Puccini would later borrow in his opera Tosca. The last phrase, “E dammi un bacio il mondo intier, e mi farai tosto obbliar” (Give me a kiss and you will make me forget all the world), is sung by Tosca in the third act to Cavaradossi: “Gli occhi ti chiuderò con mille baci mille e ti dirò nomi d’amor” (I will close your eyes with thousands of kisses and call you names of love).
Musetta sings her aria, “Quando m’en vo,” in the second act of La Boheme. Musetta enters with her latest rich conquest, Alcindoro, an older man with whom she’s bored. She decides to seduce her old flame Marcello, one of the poor bohemians in love with her. Musetta realizes she actually loves Marcello and sings the aria as an attempt to further entrance him. The aria is based on an earlier piece, Piccolo valzer, and used as a stage song, where Musetta is actually breaking into song within the action of the plot.
The Capriccio Sinfonico was his last compositional effort at the Milan Conservatory. It is a rare orchestral piece, similar in structure to a symphonic poem. It was performed three times in 1883 with great success. Puccini later uses the opening at his opera Edgar III act and the beginning of Allegro verbatim for La Boheme. The piece was arranged for piano duo by Giuseppe Frugatto in 1884. The performance of Frugatto’s piano duo arrangement will be the American premiere of the work.
Scossa Ellettrica (Electric Shock) was written in 1899, but not published until 2004, when Michael Kaye edited and annotated Puccini’s works for piano at Rediscovered Puccini Series. The piece is marked marcetto brilliante, meaning “brilliant little march.” The work was commissioned by the Como Exposition and the World Conference of Telegraphers. The piece was written to honor the hundred year anniversary of the invention of the electric battery.
The first act of La Boheme concludes with Rodolfo’s aria, Che gelida manina, and the love duet, O soave fanciulla between Mimì and Rodolfo. At this point in the opera, Mimi has come to Rodolfo’s apartment because her candle has blown out, but while she is there she drops her key. Rodolfo tells her about himself in his aria, describing his life as a poet, and asks her to tell him about herself. Mimi responds in her aria that her life as a seamstress is simple and happy. Her words are not as poetic as Rodolfo’s, but her sensuality is illustrated by the wealth of sensory delight she takes in simple things such as flowers. They sing the duet enraptured, declaring their love for each other. The act closes as they exit singing of their love.
The Requiem was written in 1905 in memory of Giuseppe Verdi, a rare public tribute to the master from whom Puccini was said to have inherited Italian opera’s highest position. The Requiem is orchestrated for three voices, viola, and organ. The first performance took place in the Retirement Home for Musicians, which Verdi had founded.
La Tregenda is an orchestral interlude from Puccini’s first opera, Le Villi. The opera is based on a French work by Alphonse Karr, in which the hero, Roberto is entranced by the Villi and forced to dance until death at the feet of his dead bride. The opera and ballet are synthesized in this work. La Tregenda is the dance of the Villi in the second act of the opera. La Villi was appreciated by critics and was successful, though it didn’t bring
Puccini the fame and wealth that Manon Lescaut would a few years later.
The famous Humming Chorus takes place at the end of Act II of Madama Butterfly, which is based on a novel by the American showman David Belasco. The opera was inspired by a true story, telling the story of the tragic fate of Butterfly, a young Japanese woman who marries an American soldier and is abandoned by him. The Humming Chorus accompanies Butterfly waiting for her husband to return. Originally it has spare orchestration and is sung by a chorus backstage, with no words. The arrangement performed here is for orchestra only.
Tosca and Cavaradossi’s famous love duet, O mia gelosa; occurs midway through the first act of Tosca. Cavaradossi, a painter and Floria Tosca, a celebrated singer, are in love. Cavaradossi is painting in the church of Sant’Angelo and has just hidden his friend, a political prisoner on the run, when Tosca enters. She suspects he was with another woman. But once her jealousy subsides, the two lovers sing the love duet. It is a brief respite from the fast paced political drama of the opera.
Vissi d’arte is Tosca’s second act aria. Like the love duet, it is a respite from the drama. Scarpia, who is in political control of Rome, has arrested Cavaradossi for his political activities and attempts to make a bargain with Tosca -Cavaradossi’s freedom for her favors. In this moment, Tosca reflects on her life, particularly her religious faith and her devotion to art and love. Immediately after her aria, Scarpia demands her decision.
Cavaradossi’s aria, E lucevan le stelle, occurs at the beginning of Act III. He has just been led to the rooftop where he is to be executed. In despair, he asks for pen and paper in order to write a last letter to Tosca. He reflects on all he is losing and the death to come. At the apex of the aria he cries, “Muoio disperato” (I die in despair). This is one of the most popular Puccini arias.
Manon in the fourth act of Manon Lescaut sings her last aria, Sola, perduta, abbandonata. At this point in the opera, Manon and DesGrieux are on the run from the law in the Louisiana desert, DesGrieux having killed a man who wished to marry Manon. In this aria, Manon fears death which she feels approaching and in a feverish state blames her beauty for her sins. In desperation she says that she doesn’t want to die.
Vecchia zimarra, senti is Colline’s only aria in La Boheme. Colline is one of Rodolfo’s bohemian friends and in the fourth act the young men and Musetta gather around Mimi, who lies dying of tuberculosis. Colline decides to pawn his overcoat, the only thing of value any of them own, so that a doctor may be called and paid for. Colline addresses the overcoat. The playfulness of his address is made poignant by the serious event that is demanding the sacrifice of the overcoat.
The first act of Tosca ends with the chorus and Scarpia singing in the chapel, the Finale. The congregation and religious community sing a Te Deum to celebrate what is thought to be a victory for the Holy Cause. The chorus remains steady and over them one hears Scarpia’s voice. He is also keen to celebrate victory, but he has yet to reach it. His goal is to capture the escaped prisoner whom Cavaradossi helped, Angelotti, and to possess Tosca.
Nessun dorma, Calaf’s aria from Turandot, is one of the most famous tenor arias of all time and was a signature piece of the late Luciano Pavarotti. At this point in the opera, Calaf has met Turandot’s challenge of the three riddles and should by right marry her; however he loves her and makes an agreement: if Turandot can discover his name, he will forfeit both her hand in marriage and his life. Calaf is unfazed, for he is certain of his anonymity, and instead sings of victory.
The Finale of Turandot was not written by Puccini himself; he died before he could complete the opera. Franco Alfano, a student, completed the opera based on the composer’s sketches. At this point in the opera, Turandot has been conquered by love. She and Calaf are joined by an exultant chorus that sings of love’s victory and ends the opera on a note of triumph.