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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several upsets of situations, even definitive as the choose by Ricordi to set in music the Franchetti's drama, then withdrawn, finally Puccini found himself charged to compose the so longed for opera.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® |
