Pietro Mascagni
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Pietro Mascagni
(born Dec. 7, 1863, Livorno, Italydied Aug. 2, 1945, Rome) Italian composer. He began to compose when very young. At the Milan Conservatory he studied with Amilcare Ponchielli (183486) and was Giacomo Puccini's roommate, but he was expelled. Taking conducting jobs with touring opera companies, he started writing operas and won a contest with his one-act Cavalleria rusticana (1890); it was an instant success from its premiere, and it remains his best-known work.
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Oxford Grove Music Encyclopedia:
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Pietro Mascagni
(b Livorno, 7 Dec 1863; d Rome, 2 Aug 1945). Italian composer. He studied with Ponchielli and Saladino at the Milan Conservatory (1882-4), then worked as a touring conductor and wrote Guglielmo Ratcliff (c1855). His next opera was the one-act Cavalleria rusticana, which was staged in Rome in 1890 and won him immediate international acclaim: it effectively established the vogue for verismo. None of his later operas was anything like so successful, though some numbers from L′amico Fritz (1891) and the oriental Iris (1898) have survived in the repertory. Later works include the comedy Le maschere (1901), the unexpectedly powerful Il piccolo Marat (1921) and Nerone (1935), this last testifying to his identification with fascism.
Columbia Encyclopedia:
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Pietro Mascagni
Mascagni, Pietro (pyā'trō mäskä'nyē), 1863-1945, Italian operatic composer. He is known for his opera Cavalleria rusticana (1890), based on the tale by Giovanni Verga; it is a classic example of the style of realism known as verismo. His other operas were less successful.
American Heritage Dictionary:
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Mas·ca·gni
, Pietro 1863-1945.Italian composer noted for his operas, including Cavalleria Rusticana (1889).
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Pietro Mascagni
| For The Record... |
| Born Pietro Antonio Stefano Mascagni, December 7, 1863, in Livorno, Italy; died August 2, 1945, in Rome, Italy. Education: Studied with Alfredo Soffredini, 1875. Enrolled in Milan Conservatory and studied with Ponchielli and Saladino, left without completing studies, 1885. Began regular music studies with Alfredo Soffredini, 1876; composed first cantata, In Filanda, and won first place in musical contest in Milan; moved to Milan and enrolled in Milan Conservatory, where he met Puccini, 1882; left Milan without completing studies, toured as conductor in the operette companies of Forli, Scognamiglio, and Vassallo, 1885; met Luigi Maresca, 1886; left company of Maresca to become master of music and singing in philharmonic of Cerignola, 1887; finished composition of Cavalleria Rusticana, 1889; won Sonzog-no contest for Cavalleria Rusticana, premiered the opera in Costanzi Theater in Rome, opera played throughout Italy, 1890; premiered L ‘Am ico Fritz at Costanzi Theater in Rome, 1891; premiered and directed / Rantzau at La Pergola Theater in Florence, 1892; premiered Guglielmo Ratcliff and Silvano, both at Teatro alia Scala in Milan, 1895; premiered Iris at Costanzi Theatre in Rome, 1898; toured Russia, 1900; premiered Le Maschere in six Italian theatres, conducted the late Verdi’s Requiem in Vienna, 1901; toured United States, 1902-1903; became director of Scuola Musicale Romana, in Rome, 1903; premiered Amica in Monte Carlo, 1905; premiered Le Maschere, 1908; toured South America, premiered Isabeau in Buenos Aires, 1911; premiered Parisina in Milan, 1913; premiered Parisina in Livorno and Rome, 1914; premiered Lodoletta in Rome, 1917; premiered II Piccolo Marat in Rome, 1921; conducted La Boheme as homage to late Puccini, 1930; premiered Pinotta in San Remo, 1932; premiered Nerone in Milan and Livorno, 1935; participated in celebration of 50-year anniversary of Cavalleria Rusticana, recorded in studio under Mascagni’s direction, 1940; last appearance at La Scala for L’Amico Fritz, 1943; Awards: First place in Sonzogno Competition for Cavalleria Rusticana, 1890. |
Composer, conductor
Petro Mascagni was a prolific Italian composer who completed more than 15 operas in his 82 years. The most memorable of these was Cavalleria Rusticana, a tempestuous love story set in a small Sicilian town. The one-act opera won the Sonzogno Competition, and its highly successful premiere in 1890 marked the early climax of Mascagni’s career. The string of operas that followed produced several popular arias, but none achieved the status of Cavalleria. In contrast, his close friend Puccini, composer of the much revered La Boheme, achieved great success, which caused tension between the two and eventually led to the dissolution of the relationship. Toward the end of Mascagni’s life, he became affiliated with fascist Italy, composing operas for Mussolini and numerous political gatherings. As a result, he lost the relationships of many of his musical peers and died poor and alone in Rome.
Pietro Antonio Stefano Mascagni was born on December 7, 1863, in Livorno, Italy, the son of a baker. When Mascagni was ten, his mother died, and three years later, against his father’s wishes, he began studying music under the tutelage of Alfredo Soffredini, a composer, teacher, and musical reviewer. In 1881 he composed his first cantata, In Filanda. The composition was entered in a contest in Milan and won a handsome sum from Count Florestano de Larderel, a prize which made it financially possible for him to study at the Milan Conservatory. At the school he studied alongside Boito, Ponchielli, and Saladino and roomed with the famous Puccini. In 1883 Mascagni derived Pinotta from the previously composed In Filanda, and attempted to enter it into the Conservatory’s musical contest, but his registration was too late.
In April 1885, after losing interest in the routine of his daily studies, Mascagni left the Conservatory. He found a position immediately with the company of Dario Acconci, and soon after toured the country as a conductor in the operette companies of Vittorio Forli, Alfonso and Ciro Scognamiglio, and Luigi Arnaldo Vassallo. In 1886 Mascagni met Luigi Maresca and his future wife, Lina. He accompanied them to Cerignola, where he accepted a position as master of music and singing at the local philharmonic society.
By the following year, he and Una were married and expecting their first child, Domenico. In 1882, Mascagni discontinued work on his opera Guglielmo Ratcliff so that he could focus his attention on the composition of Cavelleria Rusticana for the Sonzogno music competition. The opera triumphed over the other 72 entries by composers like Bossi and Giordano to win first place. On May 17, 1890, the Cavelleria premiered at the Costanzi Theater in Rome. Its success was unparalleled, and soon it was playing at theaters in Florence, Palermo, Venice, Hamburg, Petersburg, Dresden, Buenos Aires, and Vienna. But the rest of Mascagni’s career, though long, diverse, and fruitful, would never again reach the level of success that Cavelleria achieved.
Mascagni followed his massive success with the 1891 opera L’amico Fritz, a lyricalcomposition yielding such popular numbers as Cherry Duet. The comedy premiered on October 31, 1891, at the Costanzie Theater in Rome, successful because its melodic strength, though here combined with more refined harmony, was not unlike that in Cavelleria. In an attempt to increase his audience, Mascagni began conducting outside Italy, where he earned a strong reputation in Vienna, Paris, and London. On November 10, 1892, Mascagni premiered I Rantzau at the La Pergola Theater in Florence. The incestuous love story was received quite favorably by audience and critics alike, touted for its orchestration and the performances of its singers. Three years later Mascagni premiered the finally-finished Guglielmo Ratcliffon February 16 at the Teatro alla Scala in Milan. Silvano, a rushed opera written to fulfill a contract with Sonzogno, premiered at the same theater on March 15. Guglielmo achieved moderate success, but Silvano was a terrible critical and popular failure.
Beginning in 1895, Mascagni worked as director of Liceo Musicale of Pesaro for several years. His one-act opera
Zanetto was performed there in 1896. Two years later, on November 22, Iris premiered, a collaboration with Luigi Illica, at the Constanzi Theater in Rome. The composition was another moderate success, initiating the popularity of fin-de-siecle exotic opera. On January 17, 1901, Le maschere premiered at six Italian theaters and was unsuccessful at all of them. By 1902 Mascagni chose to resign his position at Liceo Musicale so he could tour the United States, where he performed in New York, Philadelphia, Boston, and San Francisco.
Arnica premiered with a libretto by Choudens in MonteCarlo on March 16, 1905. It was better received than Le maschere, but still not widely popular, a point of tension between Mascagni and Puccini that led to their dispute the same year. In 1910 the two temporarily rekindled their friendship, and the following year Mascagni’s career was on an upswing with the premiere of the romantic opera Isabeau, received warmly by Italians in Buenos Aires and similarly embraced in Milan and Venice. However, critics noted that the romantic style of the opera lacked originality and suggested Mascagni might have lost his creativity. This idea was only reaffirmed by the resounding failure of Parisina, a collaboration with D’Annunzio.
In 1910 Mascagni began an affair with Anna Lolli, and by 1913 his wife remarried the musician Guido Farinelli. This change in his personal life was perhaps mirrored in his professional life with the premiere of Lodoletta in Rome on April 30, 1917. The composition was a marked return to the lyrical genre that attempted to rival Puccini’s La rondine. Two years later, on December 13, Mascagni premiered his operette Si in Rome. Finding success with a balance of lyricism and drama gave Mascagni confidence to compose II piccolo Marat, which premiered in 1921 but failed in comparison to the two previous compositions.
Around 1927 Mascagni began to realize that his career was languishing and he went into seclusion, moving to the Albergo Plaza in Rome, where he would remain until his death. His brief public appearances thereafter were politically attached to the fascist party in Italy, signified by the 1932 premiere of Pinotta in San Remo. Three years later Mascagni premiered Nerone in Milan, his last work, written with Mussolini in mind, as a final attempt to battle the inevitable modernism surrounding him.
Mascagni made his final appearance in April of 1943 at the La Scala Theater for a performance of L’Amico Fritz. His fascist associations left him friendless and poor at the time of his death on August 2, 1945. Mascagni remains a prominent figure in the history of Italian opera, and Cavelleria Rusticana enduring favorite.
Selected operas
Cavalleria Rusticana, 1890.
L’amico Fritz, 1891.
I Rantzau, 1891.
Guglielmo Ratcliff, 1895.
Silvan, 1895.
Zanetto, 1896.
Iris, 1898.
Le Maschere, 1901
Arnica, 1905.
Isabeau, 1911.
Parisina, 1913.
Lodoletta, 1917.
Si, 1919.
II Piccolo Marat, 1921.
Pinotta, 1932.
Nerone, 1935.
Sources
Books
Rosenthal, Harold, and John Warrack, eds., The Concise Oxford Dictionary of Opera, Oxford University Press, 1979.
Sadie, Stanley, ed., The New Grove Dictionary of Opera, Macmillan Press Limited, 1992.
Online
"Pietro Mascagni," HNH, http://www.hnh.com/composer/mascagni.htm (March 7, 1999).
"Pietro Mascagni," Erik Bruchez’s Mascagni Home Page, http://rick.stanford.edu/opera/Mascagni/ (March 7, 1999).
"Evening at Pops," WGBH, http://www.pbs.org/wgbh/pops/progintermezzo.html (March 7, 1999).
AMG AllMusic Guide to Classical Music :
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Pietro Mascagni
- Genres: Opera
Biography
Though regarded by casual opera followers as a one-work composer, Pietro Mascagni wrote other operas of interest and some quality. Aside from Cavalleria Rusticana, the winsomely comic L'amico Fritz, the wrenchingly dramatic Iris, and Il Piccolo Marat attest to a diversity of mood and manner. Still, Mascagni's first opera was so successful that subsequent efforts simply could not equal that initial triumph. His embrace of Mussolini's Fascist regime seemed self-serving during the 1920s and 1930s; at the end, it left Mascagni discredited and impoverished.Although his parents had conceived for their son a career in law, Mascagni did receive some private training. However, when he began to study with the director of the newly formed Istituto Musicale Livornese, his father forbade further musical studies until a bachelor uncle interceded to offer young Pietro a home and means to finance his training. When Mascagni arrived at the Milan Conservatory, he remained only two years before embarking on an unsettled career as an orchestra member and occasional conductor of touring operetta companies. Upon marriage to Lina Carbognani in 1889, he settled in Puglia as a music instructor.
To a competition mounted by the music publisher Sonzogno, Mascagni submitted his third opera, Cavalleria Rusticana, in February 1890. At its Roman premiere on May 17, an unprecedented success propelled the composer from provincial hopeful to newly minted maestro. The following year, Mascagni enjoyed a more muted achievement with L'Amico Fritz. Silvano brought a return to verismo in 1895, although its reception was less positive than that accorded Iris, a substantial success in 1899 with a hyper-intense Oriental theme. Recurrently, the composer turned to themes of loss when choosing his libretti, recalling the desolation he felt at his mother's death when he was but 10 years old. An illicit relationship with Anna Lolli, begun in 1903, lasted until Mascagni's death in 1945.
Mascagni continued to compose in the new century, completing Isabeau in 1911, Parisina in 1913, Lodoletta in 1917, and Il piccolo Marat in 1921. As with the overblown Nerone, written in 1935 to please the regime, Mascagni often explored the outer limits of vocal possibility with punishing tessituras and unrelentingly high volume. He appeared occasionally as a conductor, more positively in Italy than in an ill-conceived American tour in 1902-03. ~ Erik Eriksson, Rovi
Discography
Wikipedia on Answers.com:
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Pietro Mascagni
Pietro Antonio Stefano Mascagni (Italian pronunciation: [ˈpjɛːtro anˈtɔːnjo ˈsteːfano masˈkaɲɲi]; December 7, 1863 – August 2, 1945) was an Italian composer most noted for his operas. His 1890 masterpiece Cavalleria rusticana caused one of the greatest sensations in opera history and single-handedly ushered in the Verismo movement in Italian dramatic music. Though it has been stated that Mascagni, like Leoncavallo, was a "one-opera man" who could never repeat his first success, this is inaccurate. L'amico Fritz and Iris have been popular in Europe since their respective premieres. In fact, Mascagni himself claimed that at one point Iris was performed in Italy more often than Cavalleria (cf. Stivender).
Mascagni wrote fifteen operas, an operetta, several orchestral and vocal works, as well as songs and piano music. He enjoyed immense success during his lifetime, both as a composer and conductor of his own and other people's music. If he never repeated the international success of Cavalleria, it was probably because Mascagni refused to copy himself. The variety of styles in his operas — the Sicilian passion and warmth of Cavalleria, the exotic flavor of Iris, the idyllic breeze that ventilates the charming L'amico Fritz and Lodoletta, the Gallic chiaroscuro of Isabeau, the steely, Veristic power of Il piccolo Marat, the overripe postromanticism of the lush Parisina — demonstrate a versatility that surpasses even that of Puccini.
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Contents
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Biography
Early life
Pietro Antonio Stefano Mascagni was born in Livorno, Tuscany, the second son of Domenico and Emilia Mascagni. The father was the owner of a bakery. Mascagni's lifelong friend and collaborator, Giovanni Targioni-Tozzetti ("Nanni") was born the same year in the same city.
In 1876, he began musical studies with Alfredo Soffredini, who founded the Instituto Musicale di Livorno (later called Istituto Cherubini) after having just completed his musical studies in Milan. Also from Livorno, Soffredini was a composer, teacher and musical critic.
In 1879, he composed several works: Sinfonia in do minore, Elegia, Kyrie, Gloria and Ave Maria.
1880-1889
The premiere of Mascagni's first cantata, In Filanda, took place at the Istituto Cherubini on February 9, 1881. The cantata was presented at a musical contest in Milan and won the first prize. In the same year Mascagni met Arrigo Boito and Amilcare Ponchielli in Milan.
In 1882, he composed his Cantata alla gioia from a text by Schiller, La stella di Garibaldi for voice and piano and La tua stella. On May 6, Mascagni left Livorno for Milan. He passed the admission examination of the Milan Conservatory on October 12. In Milan, Mascagni met Giacomo Puccini.
On January 9, 1883, Mascagni's sister, Maria, died. The cantata In Filanda became Pinotta, and was proposed for the musical contest of the Conservatorio, but the registration, being late, was not accepted.
In 1884, he composed Ballata for tenor and piano; M'ama non m'ama, scherzo for soprano and piano; Messagio d'amore, and Alla luna.
In 1885, Mascagni composed Il Re a Napoli in Cremona, romance for tenor and orchestra, on a text by Andrea Maffei. He left Milan without completing his studies. He toured as conductor in the operetta companies of Vittorio Forlì, Alfonso and Ciro Scognamiglio, and in Genova, the company of Luigi Arnaldo Vassallo.
Mascagni met the impresario Luigi Maresca in 1886. That December, Mascagni arrived in Cerignola with Maresca's company. He was accompanied by Argenide Marcellina Carbognani (Lina), his future wife. Helped by the mayor Giuseppe Cannone, Mascagni soon left the company of Maresca, not without problems, and became master of music and singing of the new philharmonia of Cerignola, where he earned a lot of esteem. He also gave piano lessons.
In February 1888, work on the Messa di Gloria started. In July, Casa Sonzogno announced in the Teatro Illustrato its second competition for a one-act opera.
Pietro and Lina were married on February 3, 1889. The next day Domenico Mascagni ("Mimì") was born. The composition of Cavalleria rusticana was completed on May 27 and the manuscript sent to Milan.
1890-1899
On February 21, 1890, Mascagni was summoned to Rome to present his opera. The première of Cavalleria rusticana, winner of the Sonzogno contest, was held May 17 at the Teatro Costanzi in Rome. The success was outstanding, and very soon the opera was performed in Florence, Turin, Bologna, Palermo, Milan, Genoa, Naples, Venice and Trieste. In December, Gustav Mahler conducted the opera in Budapest. Soon thereafter, the cities of Munich, Hamburg, St. Petersburg, Dresden and Buenos Aires welcomed the opera. In March 1891, it was sung in Vienna. At age 26, Mascagni had become famous overnight. In the meantime (January 3) his second son, Dino, was born. He was followed by a daughter, Emi, in 1892.
L'amico Fritz, Mascagni's second most successful opera, was premiered October 31 at the Teatro Costanzi in Rome. I Rantzau was premiered November 10 at the Teatro La Pergola, in Florence, under the direction of the composer himself.
Next Mascagni's opera was the Silvano (1894). On February 16, 1895 Guglielmo Ratcliff was premiered at the Teatro alla Scala of Milan. On March 15, Silvano was premiered at the Teatro alla Scala of Milan. Mascagni in the same year accepted the directorship of the Liceo Rossini in Pesaro.
On March 2, 1896, Mascagni conducted the première of Zanetto at the Liceo.
On June 29, 1898 in Recanati, Mascagni conducted the première of a symphonic poem, A Giacomo Leopardi. Iris, Mascagni's first collaboration with Luigi Illica was premiered on November 22 at the Teatro Costanzi in Rome.
Mascagni's father died in May 1899.
1900-1909
In 1900, Mascagni toured Moscow and St. Petersburg.
On January 17, 1901, Le maschere was premiered in six Italian theaters. Giuseppe Verdi died on January 27 and the following month Mascagni commemorated Verdi's passing. That same year, he conducted Verdi's Requiem in Vienna.
Mascagni composed the incidental music for Hall Caine's play, The Eternal City in August 1902; the première of the play with Mascagni's music took place in London on October 2.
In 1902 and 1903, he toured in Canada and in the United States, (in particular Montreal, New York City, Philadelphia, Boston and San Francisco), where he conducted many of his and other composers' works. The tour was mostly a fiasco, except for the visit to San Francisco where Mascagni was extremely well received.
In 1903, Mascagni left Pesaro after problems with the authorities. He became director of the Scuola Musicale Romana, in Rome. In the same year he signed a contract with the French editor Paul de Choudens.
Amica, based on a poem by Choudens with French libretto by Paul Collin,[1] was premiered on March 16, 1905, in Monte-Carlo. That year, he had disputes with Ruggiero Leoncavallo and Giacomo Puccini. He also had the Livornese première of Le maschere.
Mascagni was director of the Costanzi for the season beginning in August 1909.
1910-1919
On April 4, 1910, Mascagni began a relationship with Anna Lolli. In October he was reconciled with Puccini.
Mascagni ceased his activity as director of the Scuola Musicale Romana in 1911. That May, he left for Buenos Aires, beginning a seven-month tour in South America. The première of Isabeau took place in Buenos Aires on June 2.
The Italian première of Isabeau was held simultaneously at La Scala in Milan (conductor Tullio Serafin) and at La Fenice in Venice (conductor Mascagni) in 1912. On March 28, he began to work on Parisina in Bellevue [disambiguation needed 
], near Paris, sometimes with his daughter Emi, his mistress Anna Lolli, and the librettist Gabriele d'Annunzio.
Parisina was premiered in Milan on December 15 of that year. Almost all the important Italian composers of the time were present, among them Puccini, Umberto Giordano and Riccardo Zandonai. The new work was premiered in Livorno and Rome in 1914. On July 28 occurred the events that shortly led to World War I: Puccini and Mascagni were against the involvement of Italy in this war, where Mascagni's son Dino was later made a prisoner.
In 1915 Mascagni wrote music for Nino Oxilia's movie Rapsodia Satanica; the custom was for silent films to be accompanied live in a theater by organ, piano, or an orchestra, often using a prepared score (sometimes with original music) with cues for the conductor or musician. Mascagni had a quarrel regarding the rights of Louise de la Ramée's Two Little Wooden Shoes (I due Zoccoletti), that inspired both Puccini and Mascagni. The subject was retained by Mascagni for Lodoletta. The latter opera was premiered on April 30, 1917 in Rome. The Livornese première of the opera was on July 28 with Beniamino Gigli as Flammen.
Sì, Mascagni's operetta, was premiered on December 13 in Rome.
1920-1939
In 1920 Mascagni composed Il piccolo Marat, which was premiered in Rome on May 2, 1921, following by a premiere in Buenos Aires in September. The composer returned to South America for a tour beginning in May 1922.
In 1923, he composed Visione Lirica. He moved to the Albergo Plaza in Rome in 1927, a place he would not leave until his death.
In 1930, Mascagni conducted La bohème in Torre del Lago, as a homage to Puccini, who had died in 1924. In 1931, Le maschere was performed at La Scala.
Pinotta was premiered in San Remo on March 23, 1932. He joined the PNF (Fascist party), following the example of many contemporary musicians, including Giordano.
Nerone was premièred in Milan on January 16, 1935, followed by the première in Livorno on August 24.
In June 1936, Mascagni's son[which?] died in Somalia.
Last years
In 1940, celebrations for the fiftieth anniversary of his most popular opera, Cavalleria rusticana, took place all over Italy, often with Mascagni conducting. The opera was recorded for La Voce del padrone ("His Master's Voice") at La Scala under the direction of Mascagni, who recorded a special spoken introduction. EMI later reissued the recording on LP and CD.
In 1942, after an audience with Pope Pius XII, newspapers quoted Mascagni, a Roman Catholic, as saying that his tuberculosis-stricken niece was cured after receiving a rosary and silver medal blessed by the pope.[2]
In April 1943, Mascagni appeared for the last time at La Scala to conduct L'amico Fritz. By that time he had to conduct sitting on a chair. The last season of Mascagni at the Rome Opera (Cavalleria rusticana and L'amico Fritz) was 1944–45.
Mascagni died on August 2, 1945 in his apartment at the Hotel Plaza di Roma. The funeral ceremony was August 4. The Italian authorities were not present. In 1951, the mortal remains of Mascagni were transferred from Rome to Livorno, where finally Mascagni received an official homage.
Selected works
Operas
- Cavalleria rusticana (17 May 1890 Teatro Costanzi, Rome) - libretto, libretto
- L'amico Fritz (31 October 1891 Teatro Costanzi, Rome) - libretto
- I Rantzau (10 November 1892 Teatro La Pergola, Florence)
- Guglielmo Ratcliff (16 February 1895 Teatro alla Scala, Milan), composed between 1885 and the early 1890s - libretto
- Silvano (25 March 1895 Teatro alla Scala, Milan)
- Zanetto (2 March 1896 Liceo Musicale, Pesaro) - libretto
- Iris (22 November 1898 Teatro Costanzi, Rome) - libretto
- Le maschere (17 January 1901 Teatro Carlo Felice, Genoa - Teatro Regio, Turin - Teatro alla Scala, Milan - Teatro La Fenice, Venice - Teatro Filarmonico, Verona - Teatro Costanzi, Rome)
- Amica (16 March 1905, Monte Carlo, in French) - Italian libretto
- Isabeau (2 June 1911 Teatro Coliseo, Buenos Aires)
- Parisina (15 December 1913 Teatro alla Scala, Milan) - libretto
- Lodoletta (30 April 1917 Teatro Costanzi, Rome) - libretto
- Il piccolo Marat (2 May 1921 Teatro Costanzi, Rome)
- Pinotta (23 March 1932 Casinò, San Remo), adapted from the cantata In filanda (1881)
- Nerone (16 January 1935 Teatro alla Scala, Milan), with music written between the 1890s and the 1930s
Operetta
- Sì (13 December 1919 Teatro Quirino, Rome)
Sacred music
- Messa di Gloria in F major for soloists, chorus and orchestra
Orchestral music
- A Giacomo Leopardi, cantata for voice (soprano) and orchestra (June 19, 1898, Teatro Persiani, Recanati)
- Il re a Napoli, romanza for tenor and orchestra (18 March 1885 Teatro Municipale, Cremona)
Projects contemplated
During his long career, Mascagni contemplated writing many operas. The following is an incomplete list of such projects, which never saw the light of day:
- Zilia, probably on a libretto by Felice Romani (c. 1877)
- Scampolo, probably on a libretto by Dario Niccodemi (c. 1921)
- I Bianchi ed i Neri, on a libretto by Mario Ghisalberti (c. 1938)
Cutural references
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The 1980 film Raging Bull prominently features the following music: the Intermezzo from Cavalleria rusticana, the Barcarolle from Silvano, and the Intermezzo from Guglielmo Ratcliff (known as Il sogno di Ratcliff).
The 1990 film The Godfather Part III used a production of Cavalleria rusticana at the Teatro Massimo to set its climax, with Michael Corleone's son Anthony as Turiddu. The movie ends with the Intermezzo playing.
In 2000, electronic musician William Orbit included a modern, electronic orchestration of an excerpt from Mascagni's Cavalleria rusticana on his album Pieces in a Modern Style.
See also
- List of people on the cover of Time Magazine: 1920s - 6 Sep. 1926
References
- ^ Flury, Roger (2001). Pietro Mascagni: a bio-bibliography.
- ^ Miracles and visions may make Pius XII a Saint, United Press International, UPI, October 9, 1958,
Sources
 |
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (April 2009) |
- Mallach, Alan (2002). Pietro Mascagni and His Operas. Boston: Northeastern University Press. ISBN 1-55553-524-0.
- Flury, Roger (2001). Pietro Mascagni - A Bio-Bibliography. London: Greenwood Press. ISBN 0-313-29662-6.
- Iovino, Roberto (1987). Mascagni, l'avventuroso dell'opera. Camunia. ISBN 88-7767-014-2.
- English web site about Pietro Mascagni
- Official Italian web site about Pietro Mascagni
- Buoso Donati, "Mascagni and Mussolini" Bibliography.
- Opera at Stanford University
- Works by Pietro Mascagni at Project Gutenberg
External links
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Wikimedia Commons has media related to: Pietro Mascagni |
- Mascagni cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.
- Free scores by Pietro Mascagni at the International Music Score Library Project
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Mentioned in
Adagio for Relaxation
(2001 Album by Various Artists)
Melodie Immortali
(1953 Drama Film)
La Canzone del Sole
(1936 Film)
Lodoletta, opera in 3 acts
(Classical Work)
Bavarian State Ballet: Concertante / Black Cake - Two Ballets By Hans van Manen
(1997 Theater Film)
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