So far, this study explored life, works and musical tendency of Giacomo Puccini(1858-1924) as a representative opera composer of Italy who succeeded to Giuseppe Verdi(1813-1901), and analyzed and researched his most representative 3 arias sung by main characters(Liù, Calaf and Turandot) of opera wh...
So far, this study explored life, works and musical tendency of Giacomo Puccini(1858-1924) as a representative opera composer of Italy who succeeded to Giuseppe Verdi(1813-1901), and analyzed and researched his most representative 3 arias sung by main characters(Liù, Calaf and Turandot) of opera which he left. As mentioned above, he always embraced new trends without limiting his composing techniques and made them his own, and through his typical musical technique ‘exoticism', he created grand opera based on the ancient Chinese legend. It is very regrettable that he discontinued writing it from Act III, Scene 1 ‘The death of Liù' and instead his student Franco Alfano(1876-1954) completed rest of the opera, but as he continued Exoticism which had started in 18th century and was passed on to 20th century, Puccini was the master of Exoticism opera. Calling himself as ‘one who were ordered by God to compose for the theater', he created characters which the era demanded by selecting fluid tunes and appealing lines. Especially good at describing female characters, he pursued trance with human voice by having the heroine sing beautiful and sad tunes. This dramatic composing ability of Puccini can also be confirmed in his 3 representative arias, which are maid Liù's ‘Signore, Ascolta!', Princess Turandot's ‘In Questa Reggia' and Prince Calaf's ‘Nessun Dorma!', which this study analyzed. Especially, the tune of Chinese folk song ‘Jasmine flower’, which is used for theme song of Princess Turandot, clearly shows strange and attractive utopia of ‘difference' which Exoticism pursued. It is truly regrettable that we cannot see his further development due to his death in the middle since this intriguing work exhibits his greater potential.
So far, this study explored life, works and musical tendency of Giacomo Puccini(1858-1924) as a representative opera composer of Italy who succeeded to Giuseppe Verdi(1813-1901), and analyzed and researched his most representative 3 arias sung by main characters(Liù, Calaf and Turandot) of opera which he left. As mentioned above, he always embraced new trends without limiting his composing techniques and made them his own, and through his typical musical technique ‘exoticism', he created grand opera based on the ancient Chinese legend. It is very regrettable that he discontinued writing it from Act III, Scene 1 ‘The death of Liù' and instead his student Franco Alfano(1876-1954) completed rest of the opera, but as he continued Exoticism which had started in 18th century and was passed on to 20th century, Puccini was the master of Exoticism opera. Calling himself as ‘one who were ordered by God to compose for the theater', he created characters which the era demanded by selecting fluid tunes and appealing lines. Especially good at describing female characters, he pursued trance with human voice by having the heroine sing beautiful and sad tunes. This dramatic composing ability of Puccini can also be confirmed in his 3 representative arias, which are maid Liù's ‘Signore, Ascolta!', Princess Turandot's ‘In Questa Reggia' and Prince Calaf's ‘Nessun Dorma!', which this study analyzed. Especially, the tune of Chinese folk song ‘Jasmine flower’, which is used for theme song of Princess Turandot, clearly shows strange and attractive utopia of ‘difference' which Exoticism pursued. It is truly regrettable that we cannot see his further development due to his death in the middle since this intriguing work exhibits his greater potential.
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