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Verdi was a man of the people, loving Italy and being loved in
return, a master of voice, ready to take good suggestions to improve
his work, always kind, high-minded, and generous. He knew the
orchestra and wrote for it in a way that not only gave, in his last three
masterpieces, a new flavor to Italian opera, but led the way for future
composers.
Boito and His “Mefistofele”
In 1890 the first truly realistic opera was written in Italy. A prize
was offered by the publisher Sonzogno and an unknown man, Pietro
Mascagni, won it with Cavalleria Rusticana (Rustic Chivalry). He
was born in 1863, the son of a baker. He was a musical boy, but his
father wished him to be a lawyer, so he had to work at the piano in
secret. One day when he had been locked up by his father who did
not want him to practise, he was discovered by his uncle, who
sympathized with him and took him to Count Florestan, who helped
the young musician to study in Milan.
Mascagni’s work in Cavalleria Rusticana was vivid and he used
both the old and the new style of writing. It is full of the most
entrancing melody (the Intermezzo, the Brindisi, or drinking song,
and Santuzza’s aria, Voi lo sapete). He also wrote Iris and Amico
Fritz, which never equalled Cavalleria.
With Ruggiero Leoncavallo (1858–) it was different, for only after
writing a number of operas did he produce a success in the world-
famous I Pagliacci. He wrote the tragic story of these strolling
players as well as the music, which is not as popular in style as
Cavalleria, but it is superbly put together and very dramatic. As
these operas are both short, they are often performed together. The
rôle of Canio (I Pagliacci) was one of Caruso’s masterpieces. How
wonderful to think that his voice has been preserved for the future
generations through his records of which Ridi Pagliaccio (Laugh
Clown) is one of the finest. It is generally admitted that Caruso’s
voice was the most glorious of our age, and certainly there was no
artist more idolized than he. In this same opera Antonio Scotti’s
performance of the famous Prologue is equally beautiful.
Giordano
Georges Bizet.
Vincent d’Indy.
Camille Saint-Saëns.
Jules Massenet.
Gustave Charpentier.