Which of Puccini's operas was left unfinished at his death and later completed by Franco Alfano?
"would include: There are also instances where a work was left unfinished at the composer's death, and was completed by another composer. In such cases, the later composer generally strives to ensure the finished product is as close as possible to the original composer's intentions, as revealed by their notes, rough drafts, or other evidence. One of the best known examples is the completion by Franco Alfano of Giacomo Puccini's opera ""Turandot"". There may also be a case for describing Sir Edward Elgar's Symphony No. 3 as a work by both Elgar and Anthony Payne. However, these types of works"
"missing music had to be provided by Franco Alfano for the premiere in 1926. Recently, Luciano Berio composed an alternative ending. Alban Berg had only finished the first two acts of his opera ""Lulu"" at the time of his death in 1935. Due to objections from his widow it was not until 1979 that a full version was performed, with music for the final act devised by Friedrich Cerha using Berg's sketches. Other musical works which are unfinished but performable, are simply given in their incomplete state. Schubert's symphony is the most famous, but Anton Bruckner's Ninth Symphony is performed"
"point someone will come to the footlights and will say: 'The author composed until here, and then he died.'"" Arturo Toscanini related Puccini's words with great emotion, and, with the swift agreement of Puccini's family and the publishers, decided that the evening of the first performance, the opera would appear as the author left it, with the anguish of being unable to finish). Two authors believe that the second and subsequent performances of the 1926 La Scala season, which included the Alfano ending, were conducted by Ettore Panizza and Toscanini never conducted the opera again after the first performance. However,"
"Alberto Franchetti (1860–1942). Only three composers, and three works, by Italian contemporaries of Puccini appear on the Operabase list of most-performed works: ""Cavalleria rusticana"" by Mascagni, ""Pagliacci"" by Ruggero Leoncavallo, and ""Andrea Chénier"" by Umberto Giordano. Kobbé contrasted Puccini's ability to achieve ""sustained"" success with the failure of Mascagni and Leoncavallo to produce more than merely ""one sensationally successful short opera."" By the time of Puccini's death in 1924, he had earned $4 million from his works. Although the popular success of Puccini's work is undeniable, and his mastery of the craft of composition has been consistently recognized, opinion among"
"followed by the final note, an A sustained even longer—although Puccini's score did not explicitly specify that either note be sustained. In the original score, the B is written as a sixteenth note while the A is a whole note. Both are high notes in the tenor range. The only recording to follow Puccini's score exactly was the very first, sung by Gina Cigna and Francesco Merli, conducted by Franco Ghione. In Alfano's completion of act 3, the ""Nessun dorma"" theme makes a final triumphal appearance at the end of the opera. The theme also makes a concluding reappearance in"
"were confiscated (they were returned to him after the war). When Puccini died without completing the music for the last act of ""Turandot"", Zandonai was among several composers the Ricordi publishing firm considered for the task of finishing it. Puccini himself, in his final illness, seems to have supported the choice of Zandonai — certainly Toscanini looked with approval on this choice — but his son Tonio Puccini, for reasons still obscure, vetoed it. One version is that Tonio Puccini thought that Zandonai was too well-known and for that reason would be associated with the opera and might even overshadow"
"Because only three ""verismo"" works by Puccini continue to appear regularly on stage (the aforementioned ""Cavalleria rusticana"", ""Pagliacci"", and ""Andrea Chénier""), Puccini's contribution has had lasting significance to the genre. Both during his lifetime and in posterity, Puccini's success outstripped other Italian opera composers of his time, and he has been matched in this regard by only a handful of composers in the entire history of opera. Eleven of Puccini's operas are numbered among the 200 most-performed operas (worldwide, by composers of any nationality, as surveyed by Operabase). Three of his works (""La bohème"", ""Tosca"", and ""Madama Butterfly"") rank among"
"orchestra was conducted by Arturo Toscanini. Recorded in very primitive sound, the concert has been issued on CD. Boito wrote very little music, but completed (and later destroyed) the opera, ""Ero e Leandro"", and left incomplete a further opera, ""Nerone"", which he had been working at, on and off, between 1877 and 1915. Excluding its last act, for which Boito left only a few sketches, ""Nerone"" was finished after his death by Arturo Toscanini and Vincenzo Tommasini and premiered at La Scala, 1924. He also left a Symphony in A minor in manuscript. Mefistofele His only finished opera, ""Mefistofele"", based"
"had on his many previous suffering heroines. However, in the opinion of Father Owen Lee, Puccini was out of his element when it came to resolving the tale of his two allegorical protagonists. Finding himself completely outside his normal genre of ""verismo"", he was incapable of completely grasping and resolving the necessary elements of the mythic, unable to ""feel his way into the new, forbidding areas the myth opened up to him"" – and thus unable to finish the opera in the two years before his unexpected death. ""Turandot"" is scored for three flutes (the third doubling piccolo), two oboes,"
"to 1988 the American composer Janet Maguire, convinced that the whole ending is coded in the sketches left by Puccini, composed a new ending, but this has never been performed. In 2001 Luciano Berio made a new completion sanctioned by Casa Ricordi and the Puccini estate, using Puccini's sketches but also expanding the musical language. It was subsequently performed in the Canary Islands and Amsterdam conducted by Riccardo Chailly, Los Angeles conducted by Kent Nagano, at the Salzburg Festival conducted by Valery Gergiev in August 2002. However, its reception has been mixed. ""In front of the imperial palace"" In China,"
"would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, ""Will we go back to it? <nowiki>[</nowiki>""Maria Antonietta""<nowiki>]</nowiki> If I find three one-act works that suit me, I'll put off ""M.A."""" Puccini pursued neither project, as Giacosa's illness led to his death in September 1906. In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May"
"based on a play by Victorien Sardou. The opera was withdrawn after only two performances; and the failure of this work, even though the composer attempted a later revision, was enough to drive him to abandon the operatic stage for good. There are however indications of some later unfulfilled operatic projects, which survive as parts or sketches of libretti, such as ""Il ritorno dell'amore"" by Renato Simoni, ""Malena"" by Ettore Moschino, and ""La rosa di Pompei"", also by Moschino (dated ""Naples, 20 May 1924""). Some sources also refer to an opera of 1909, completed but never performed, called ""Il matrimonio"
"his father. Ultimately Franco Alfano was chosen to complete ""Turandot"". In 1935 Zandonai became the director of the Rossini Conservatory in his beloved Pesaro. There he revived some works of Rossini, such as ""Il viaggio a Reims"" and the overture for ""Maometto secondo"". In 1941 he re-orchestrated ""La gazza ladra"", reducing it to three acts. Three years later, he died in , Pesaro, after undergoing gallstone surgery. His last words were for the priest who announced to him that Rome had been liberated the day before. The dying composer said, in his native dialect: ""Good! Viva l'Italia; the sound part""."
"""Il duca d’Alba"", although as he was helped in the reconstruction of Donizetti’s score by several composers, including Amilcare Ponchielli, there has been some dispute as to the degree to which he was the aria’s sole composer. He died in Rieti, Italy. Matteo Salvi Matteo Salvi (24 November 1816 – 18 October 1887 ) was a composer of opera and classical music and a theatre director. Salvi was born in Botta di Sedrina (Provincia di Bergamo), Italy. A student of Gaetano Donizetti, he is best known for having completed the score of Donizetti’s unfinished opera ""Le duc d’Albe"" for its"
"of his work; he revised it many times to the point of making three versions (1917, 1920, 1921), with two completely different endings, but died before clearly deciding on a final version. Revised versions In the second version, which was premiered at Teatro Massimo, Palermo, in 1920, Prunier is the deciding force in Magda's decision to leave Ruggero in Act 3, and she departs without seeing her lover. In the third version of the opera, Puccini changed the final act again, adding a scene in which Rambaldo comes to beg Magda to return to him, and ending with Ruggero's discovery"
"his death. The opera was first performed by the Zürich Opera in an incomplete form on 2 June 1937. Erwin Stein made a vocal score of the whole of act 3 following Berg's death, and Helene Berg, Alban's widow, approached Arnold Schoenberg to complete the orchestration. Schoenberg at first accepted, but upon being sent copies of Berg's sketches he changed his mind, saying that it would be a more time-consuming task than he had thought. Helene subsequently forbade anybody else to complete the opera, and for over forty years only the first two acts could be given complete, usually with"
"and is disappointed to know of his love for l'Arlesiana. When he has been left alone, Federico reads the letters of l'Arlesiana and ponders them with his broken heart. """" (English: ""None shall sleep"") is an aria from the final act of Giacomo Puccini's opera ""Turandot"", and is perhaps the most lyrical piece of music known to the public, thanks to Luciano Pavarotti, which had made it a staple in his repertoire, especially in his performances outside the opera houses. Several artists, including Aretha Franklin; Jeff Beck; Chris Botti,; Sarah Brightman, amongst others. The last two tracks are ""E lucevan"
"his death in 1688. His most enduring works remain the two Innsbruck operas he wrote for Antonio Cesti in the 1650s—""La Dori"" and ""L'Argia"". Convoluted semi-comic tales of multiple disguises and mistaken identities, both of them were immensely popular in their day with multiple productions in Italy during Apolloni's lifetime. ""L'Argia"" had its first performance in modern times at the Innsbruck Festival of Early Music in 1996 with subsequent performances in Lausanne and Paris. ""La Dori"" has been revived several times in the 20th century, including productions in 1983 at the Spitalfields Festival in London, 1990 at the Mannes College"
"no unified plot. Like the 1849 play by Murger and Théodore Barrière, the opera's libretto focuses on the relationship between Rodolfo and Mimì, ending with her death. Also like the play, the libretto combines two characters from the novel, Mimì and Francine, into the single character of Mimì. Early in the composition stage Puccini was in dispute with the composer Leoncavallo, who said that he had offered Puccini a completed libretto and felt that Puccini should defer to him. Puccini responded that he had had no idea of Leoncavallo's interest and that having been working on his own version for"
"were popularized throughout France by their interpretations. In this opera, Della Maria did not rise to extraordinary powerful conceptions; but his style was original, and this individuality was noticeable in all his compositions. Unfortunately, his style tended towards weakening in several of his later operas. He enjoyed an amount of success with: ""The Uncle Valet"" and ""The Ancient Castle"", but ""Jacquot"" (The school of mothers) (1797) and ""The House of Marais"" were both short lived. ""La Fausse Duegne"" (The false wife) was left unfinished by the sudden death of Della Maria, and in 1802 Blangini was commissioned to complete the"
"revised the work again, cutting the last act and producing a three-act version which would again be revised in 1905. In this final form the opera had even less success than in its original four-act structure. Some of the music that was cut in 1891 was reused in ""Tosca"" and became the beautiful act 3 duet, ""Amaro sol per te m'era il morire!"". The funeral march from act 3 was played at Puccini's funeral, conducted by Arturo Toscanini and the aria ""Addio, mio dolce amor"" (Farewell, my sweet love) from act 4 was sung. Puccini finally gave up on ""Edgar"""
"Stampa"" recorded the words slightly differently: ""Qui finisce l'opera, rimasta incompiuta per la morte del povero Puccini/Here the opera ends, left incomplete by the death of poor Puccini."" It is also frequently reported that Toscanini said, more poetically, ""Here the Maestro laid down his pen"". A newspaper report published the day before the premiere states that Puccini himself gave Toscanini the suggestion to stop the opera performance at the final notes composed by Puccini: .<br> (A few weeks before his death, after having made Toscanini listen to the opera, Puccini exclaimed: ""If I don't succeed in finishing it, at this"
"verifiable live performance of Alfano's original ending was not mounted until 3 November 1982, by the Chelsea Opera Group at the Barbican Centre in London. However, it may have been staged in Germany in the early years, since Ricordi had commissioned a German translation of the text and a number of scores were printed in Germany with the full final scene included. Alfano's second ending has been further redacted as well: Turandot's aria ""Del primo pianto"" was performed at the premiere but cut from the first complete recording; it was eventually restored to most performances of the opera. From 1976"
"Ricordi to let him have it and that Franchetti was persuaded that the violence in the story made it unsuitable for an opera. Another version is that Franchetti waived his rights to the opera because he felt that Puccini would make a better job of it - this is believed to have been stated by the Franchetti family. Of Franchetti's last opera ""Glauco"" only the third act finale (sung by soprano) ""No piange ancora"" with its haunting melody, seems to have survived. Among the reasons for Franchetti's descent into obscurity is the fact that, after the promulgation of the Fascist"
"Giacomo Puccini, Pietro Mascagni and Umberto Giordano. In 1881, Ponchielli was appointed ""maestro di cappella"" of the Bergamo Cathedral, and from the same year he was a professor of composition at the Milan Conservatory, where among his students were Puccini, Mascagni and Emilio Pizzi. He died of pneumonia in Milan in 1886 and was interred in the city's Monumental Cemetery. Although in his lifetime Ponchielli was very popular and influential, in introducing an enlarged orchestra and more complex orchestration, the only one of his operas regularly performed today is ""La Gioconda"". It contains the great tenor romanza ""Cielo e mar"","
"the composer had set aside this proposal to concentrate on the project which became ""La fanciulla del West"", although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the ""tragic"" element, which became ""Il tabarro"", but he still lacked ideas for the other two works. He considered staging ""Il tabarro"" in combination with his own early work ""Le"
"Il trittico Il trittico (""The Triptych"") is the title of a collection of three one-act operas, ""Il tabarro"", ""Suor Angelica"", and ""Gianni Schicchi"", by Giacomo Puccini. The work received its world premiere at the Metropolitan Opera on 14 December 1918. Around 1904, Puccini first began planning a set of one-act operas, largely because of the success of Pietro Mascagni's ""Cavalleria rusticana"". Originally, he planned to write each opera to reflect one of the parts of Dante's ""Divine Comedy"". However, he eventually based only ""Gianni Schicchi"" on Dante's epic poem. The link in the final work is that each opera deals"
"one of Puccini's best known, and one of the most popular arias in opera. Puccini had long considered writing a set of one-act operas which would be performed together in a single evening, but faced with a lack of suitable subjects and opposition from his publisher, he repeatedly put the project aside. However, by 1916 Puccini had completed the one-act tragedy ""Il tabarro"" and, after considering various ideas, he began work the following year on the solemn, religious, all-female opera ""Suor Angelica"". ""Gianni Schicchi"", a comedy, completes the triptych with a further contrast of mood. The score combines elements of"
"end of 1680, Sartorio began composing another opera, ""La Flora"", but he died before he could finish the work. He had been ill for seven months prior to his death. The Teatro San Angelo had commissioned ""La Flora"", and not wanting to give it up, hired Marc'Antonio Ziani to finish it. The opera was eventually performed at that house as the first opera of the new Carnival season. Giovanni Legrenzi succeeded him as vice ""maestro di cappella"" of the St Mark's Basilica. There is one recording of ""Giulio Cesare in Egitto"", conducted by Attilio Cremonesi (ORF CD409 (3CDs)), and also"
"He finally agreed that the premiere could take place at the Metropolitan Opera in New York, without his being there, on the basis of performing instructions which he supplied to the conductor. ""Gianni Schicchi"" proved to be the last opera completed by Puccini. ""Gianni Schicchi"" was first performed at the Metropolitan Opera on 14 December 1918, with Roberto Moranzoni conducting, as the final part of ""Il trittico"". While the sold-out house showed polite enthusiasm for ""Il tabarro"" and ""Suor Angelica"", ""Gianni Schicchi"" was, in the words of the ""New-York Tribune""s critic, ""received with uproarious delight"". In the ""Evening Sun"", W.J."
"Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's ""Cavalleria rusticana"". With ""Tosca"" essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with ""Madama Butterfly"", were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas. After ""Butterfly"" premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it"
"wife never knew how serious the cancer was, as the news was revealed only to his son. Puccini died in Brussels on 29 November 1924, aged 65, from complications after the treatment; uncontrolled bleeding led to a heart attack the day after surgery. News of his death reached Rome during a performance of ""La bohème"". The opera was immediately stopped, and the orchestra played Chopin's ""Funeral March"" for the stunned audience. He was buried in Milan, in Toscanini's family tomb, but that was always intended as a temporary measure. In 1926 his son arranged for the transfer of his father's"
"age of 69. Unless indicated otherwise, the texts were opera libretti. Ferdinando Fontana Ferdinando Fontana (30 January 1850 – 10 May 1919) was an Italian journalist, dramatist, and poet. He is best known today for having written the libretti of the first two operas by Giacomo Puccini – ""Le Villi"" and ""Edgar"". Born at Milan into a family of artists - both his father Carlo and his brother Roberto were painters - he entered a Barnabite school at the age of seven and then went on to study at the Collegio Zambelli. He was forced to abandon his studies while"