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05/2000
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Adriano Bassi |
The “Tosca” by Giacomo Puccini through
anecdotes and letters Giacomo Puccini (1858-1924) has an impor tant influence
in the first representation of one of the most intensive works of his
production, that is the “Tosca”, the fifth opera of his and represented at
the Costanzi theatre on January 14th 1900. In this article we will enter the
details of the progress of the work by the means of anecdotes and letters
written personally by Puccini. This way we will understand the troubles, the
anxiety, the satisfaction and all concerning the creation of a masterpiece as
the Tosca is. The constant and combative compositor's nature results
magnified after the disappointing rehearsal of the La Scala première of the
“Edgar”, as it results from a letter written to Giulio Ricordi and concerning
the purchase of the adaptation rights of the drama, dated on May 7th, 1889:
“I realize that the will to work, instead of getting away from me, becomes
more vigorous ...I'm thinking about the Tosca! I beseech you to carry out the
required papers to get the permission from Sardou, before abandoning the
idea. This case will hurt me a lot, since in this Tosca I see the opera that
fits me”. As you can note by comparing the dates of the first letter and the
first representation, the progress period was rather long and troubled. We
must not forget that Sardou was not satisfied of the adoption of the 'Tosca'
by Pucccini and this concern he wrote to Ricordi, by the means of his agent
in Italy, De Glasser, a rather meaningful telegram: “Après avoir fait jouer
la musique de Puccini il est navreè que c'est lei qui doit composer Tosca,
trouvant musique mauvaise” (Trieste, December 12th 1892). After several
upsets of situations, even definitive as the choose by Ricordi to set in
music the Franchetti's drama, then withdrawn, finally Puccini found himself
charged to compose the so longed for opera. The work was complicated and
plenty of obstacles, but it did not raise the desire by Puccini to give up
the undertaking. Reading it you may note the great tension and the emotion of
our compositor that was dealing with thousand problems and undergoing the
urgency to keep under control the whole situations that sudden raised. Intensive
days and hard to manage, since the musical critic was tough and ready to sink
this great labour. Besides the musical enemies he was to face dangerous situations
of envy, gossips that increased of the already deep daily anxiety. After the
first decisive representation we find a more relaxed Puccini, but ever very
attentive to better the quality of the spectacle. In the letter addressed to
Vandini dated on February 22nd, 1900 he wrote: “Dear Vandini, all goes on
well, save the uncertainty that will surely disappear this evening- tomorrow
I'm going to Milan - definitively- and Sunday I'll be at Torre - will you
come there? When will you leave Rome? Give Alfredo my regards and tell him
that I received his nice letter and that I'll write him -tell him- Regards to
E. and F. Sincerely yours G. Puccini - The success of the opera went on
steadily also in Milan and Puccini on March 29th, 1900 wrote from Milan to
Vandini: “Dear Vandini, I know you are at the Scesa delle Mura - Here Tosca
goes on to fill the theatre to the letter- this evening we are at the eighth
representation and it's sold out- bye and regards from all us. Sincerely
yours, Puccini. Does Bolcioni have always the idea about Lucca? Does Morchini
still think about it?” “Tosca” was arousing interest both in the critic
environment and public and also Lucca wanted to represent the work of their
famous fellow citizen; but they did not take into account that Puccini did
not want to mistake in choosing interprets and so he wanted the work be
represented by singers of his liking; the letters he wrote this period
witness all that. A postcard from London says: “Dear Vandini, I telegraphed
to the major once more to recommend B. - now I know that Bianchini-Cappelli
was engaged at Brescia - and so how could she go to Lucca? When will they
take a decision? Who will B. bring as a tenor? And what about the director? ”
A letter from London witnesses the serious troubles of the representation in
Lucca: “Dear Vandini, standing that all has faded, artists, director etc it's
better to set the Tosca a part and not talk about it anymore- I won't
absolutely represent it with artists that do not fit it- Everything has flown
away to Bolcioni and he engaged me with letters and telegrams- That's not the
way to behaviour- Dear Vandini I've supported the Bolcioni project with
Mugnone or Vitale Bianchini C. and Camera - None has fulfilled what they have
promised and I tell them to go to the hell along with the Tosca- Finally an
umpteenth postcard from Paris on July 21st, 1900 witnesses the negative end
of the Lucca project: “Dear Vandini, and so? I have not heard anything
anymore- I hope all is restful, even the Tosca at Lucca. My Dear, I don't
want to represent my work at Lucca with dubious artists” This way we could
see in detail the creation of the Tosca, analysing an interest in the wings
plenty of references and reflections, making us understand the other side of
the music, maybe less rich of spangles but more genuine..
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Adriano
Bassi
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Leadership Medica® |
