{"id":73215,"date":"2022-03-02T12:08:46","date_gmt":"2022-03-02T11:08:46","guid":{"rendered":"https:\/\/www.puccinifestival.it\/giacomo-puccini\/"},"modified":"2026-05-19T18:12:00","modified_gmt":"2026-05-19T16:12:00","slug":"giacomo-puccini","status":"publish","type":"page","link":"https:\/\/www.puccinifestival.it\/en\/giacomo-puccini\/","title":{"rendered":"Giacomo Puccini"},"content":{"rendered":"\t\t
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BIOGRAPHY<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Giacomo Puccini was born in Lucca on 22 December 1858 into a family that had been devoted to music for four generations, on both his father\u2019s and mother\u2019s sides. His father, Michele (1813\u20131864), died when Giacomo was just over five years old, and the boy\u2019s musical education was entrusted to his maternal uncle Fortunato Magi, and later to Carlo Angeloni, both former pupils of his father. Following family tradition, Puccini became a choirboy (1868), then an organist (1872); and in this capacity he was also active as a precocious composer. <\/p>

In 1874 he was admitted to the Pacini Music Institute in Lucca, and two years later he composed the Prelude for orchestra. In 1880, he took his leave of Lucca with a Messa di gloria, which was very well received; drawn to the theatre, he moved to Milan in November to sit the entrance examination for the Conservatory, where his teachers were Antonio Bazzini \u2013 for just over a month \u2013 and Amilcare Ponchielli. <\/p>

In July 1883, he completed his studies by having his *Capriccio sinfonico* performed as his final recital piece, conducted by Franco Faccio, and it was very well received.In October, the publisher Sonzogno published the song for voice and piano Storiella d\u2019amore; at the same time, he was working on a one-act opera, Le Willis, based on a libretto by Ferdinando Fontana, which he had secured thanks to Ponchielli\u2019s intervention, and with this work he entered the first Melodramatic Competition organised by Sonzogno. The opera did not win a prize but, thanks to the help of some friends (including Ponchielli, Fontana, Arrigo Boito and Giulio Ricordi), it was performed on 31 May 1884 at the Teatro Dal Verme in Milan, where it was a great success. Ricordi purchased it and commissioned the composer to write another. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\tGiacomo Puccini returned to Lucca, where he began living with Elvira Bonturi, the wife of the grocer Narciso Gemignani, whom he would not be able to marry until 1904. Having received Fontana\u2019s new libretto, Edgar, a sombre tale whose plot bears a resemblance to that of Carmen, he began composing the music with little conviction: in the meantime (summer 1886) he had moved to Monza with Elvira and her daughter, Fosca, and it was here that his only son, Antonio, was born on 23 December. When Edgar finally premiered (Milan, La Scala, 21 April 1889), it was a failure, a result largely anticipated by the composer and the publisher, who nevertheless reaffirmed his confidence in the composer.

These were difficult times for Puccini, who had by then settled in Milan and was considering new subjects: Sardou\u2019s *Tosca* and Pr\u00e9vost\u2019s *Manon Lescaut*. The latter subject was chosen, despite the risk of a dangerous comparison with Massenet\u2019s acclaimed opera, and in 1890, after arduous collaborative work between Ricordi, Leoncavallo, Domenico Oliva and Marco Praga, the libretto was ready and Puccini could begin composing it in his new home in Torre del Lago. But before the opera could be considered complete (autumn 1892), the libretto had to undergo extensive revisions, entrusted to Luigi Illica with the advice of Giuseppe Giacosa.

On 1 February 1893, the triumph of *Manon Lescaut* brought an end to a long period of uncertainty: not only was the subject matter more suited to him, but the realisation that he needed to exercise close control over the libretto\u2019s development also lay at the heart of the mastery he had achieved.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\tA few months later, Puccini chose Murger\u2019s *La Vie de Boh\u00e8me*, and the libretto was once again entrusted to Illica, with the collaboration of Giuseppe Giacosa. The work, marked by a series of ups and downs in enthusiasm and uncertainty \u2013 which would remain a constant feature of Puccini\u2019s career \u2013 spanned the whole of 1894 and 1895. It was not until 1 February the following year that La Boh\u00e8me had its premiere in Turin: to a lukewarm reception, which, however, grew into a resounding success during subsequent performances and when the opera was staged in other Italian theatres. Meanwhile, Giacomo Puccini was often on the road, attending performances of his operas in various Italian cities and abroad: as early as 1892 he had been in Madrid for Edgar and in Hamburg for Le Villi; he then travelled to Vienna and Paris, where in 1898 he presented La Boh\u00e8me to great acclaim. However, the search for a new subject for his next opera became one of Puccini\u2019s main concerns: and the project for Tosca resurfaced, entrusted to the tried-and-tested expertise of Illica and Giacosa. The drafting of the libretto was once again a laborious process, partly due to the reservations of the publisher and Giacosa, and partly due to the effort required to adapt to Sardou\u2019s demands. As with La Boh\u00e8me, the public\u2019s first encounter with Tosca (Rome, 14 January 1900) was not particularly enthusiastic, but it took only a few months for the new opera to enter the repertoire of Europe\u2019s major theatres.

In July 1900, Puccini saw Long and Belasco\u2019s play *Madame Butterfly* in London: this subject was chosen, setting aside other ideas, including one based on Marie Antoinette. Illica and Giacosa were still at work, grappling with their usual doubts; but the slow progress this time was also caused by a serious car accident (February 1903), which left Puccini with a broken leg and a particularly long convalescence. The first version of Madama Butterfly, in two acts (Milan, La Scala, 17 February 1904), was a resounding failure; but just three months later, the revival in Brescia, in three acts, with some alterations and extensive cuts, sealed the opera\u2019s success. Now there was renewed talk of Marie Antoinette, and of a trilogy based on stories by Gorky; it was also a time of trips to London and a long stay in Buenos Aires (1905). Then came New York (1907), where Giacomo Puccini had the opportunity to see a play by Belasco, which would form the basis of his new opera La fanciulla del West. The librettists this time were Carlo Zangarini and Guelfo Civinini, and the premiere took place, to great acclaim, at the Metropolitan in New York (10 December 1910). \t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\tWith the death of Giulio Ricordi (6 June 1912), Puccini\u2019s most intense creative period came to an end; he was now drawn to the idea of collaborating with D\u2019Annunzio and returned to the idea of a series of three one-act operas. However, the substantial offer from Vienna for an operetta took precedence over all these projects; this would become La rondine, written by Giuseppe Adami and intended for the publisher Sonzogno: conceived during the war years, amidst much uncertainty, the new work was performed in Monte Carlo on 27 March 1917, and would never have an easy life, despite the significant alterations it would undergo. In the meantime, the so-called \u2018Trittico\u2019 had taken shape, comprising Il tabarro written by Giuseppe Adami, and two librettos by Gioachino Forzano, Suor Angelica and Gianni Schicchi; the Trittico was staged on 14 December 1918 at the Metropolitan in New York. Turandot was the new subject that Giacomo Puccini chose in early 1920, entrusting the libretto to the tried-and-tested Giuseppe Adami, who was joined by the theatrical expertise of Renato Simoni.

\nIt was a project that occupied Puccini for several years, with a particularly chequered history, partly because the composer was suffering from throat problems which, in October 1924, were diagnosed as cancer. By the end of 1923, *Turandot* was almost complete, but the final duet was still missing, and its libretto was painstakingly reworked. Whilst these revisions and rewrites were underway, in September 1924 Giacomo Puccini made arrangements with Toscanini for the opera\u2019s premiere, scheduled for the following April; however, on 4 November, with the final duet still unwritten, Puccini left for Brussels, where he was admitted to a clinic. On the 24th he underwent throat surgery, and died on 29 November 1924. \t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Taken from: *Dizionario Pucciniano* by Eduardo Rescigno,<\/a> published by Ricordi <\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\tThe Works\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tLe Willis\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tA dramatic legend in one act and two scenes, libretto by Ferdinando Fontana, based on the novella *Les Wilis* (1852) by Alphonse Karr.\nPremiere: Milan, Teatro Dal Verme, 31 May 1884\nLe Villi, a new version of Le Willis\nBallet opera in two acts, libretto by Ferdinando Fontana, based on the novella Les Wilis (1852) by Alphonse Karr.Premiere: Turin, Teatro Regio, 27 December 1884\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Edgar<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tAn opera in four acts, with a libretto by Ferdinando Fontana based on Alfred de Musset\u2019s dramatic poem *La coupe et les l\u00e8vres* (1832).\nPremiere: Teatro alla Scala, 21 April 1889\nNew version\nOpera in three acts\nPremiere: Ferrara, Teatro Comunale, 28 January 1892\nFinal version in three acts\nPremiere: Buenos Aires, Teatro Col\u00f3n, 8 July 1905\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tManon Lescaut\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tAn opera in four acts, with a libretto by an anonymous author (in collaboration with Ruggero Leoncavallo, Marco Praga, Domenico Oliva, Luigi Illica and Giuseppe Giacosa), based on the novel *Histoire du Chevalier Des Grieux et de Manon Lescaut* (1731) by Antoine-Fran\u00e7ois Pr\u00e9vost.\nPremiere: Turin, Teatro Regio, 1 February 1893\nFinal version: Milan, Teatro alla Scala, 7 February 1894\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tLa Boh\u00e8me\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tScenes from *La Vie de Boh\u00e8me* by Henry Murger, in four acts, libretto by Giuseppe Giacosa and Luigi Illica, based on the novel *Sc\u00e8nes de la vie de boh\u00e8me* (1847\u20131849)Premiere: Turin, Teatro Regio, 1 February 1896\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Tosca<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tA melodrama in three acts, with a libretto by Victorien Sardou, Luigi Illica and Giuseppe Giacosa, based on Victorien Sardou\u2019s play *La Tosca* (1887)\nPremiere: Rome, Teatro Costanzi, 14 January 1900\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Madama Butterfly<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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A Japanese tragedy in two acts, with a libretto by Luigi Illica and Giuseppe Giacosa based on John Luther Long\u2019s short story *Madame Butterfly* (1898) and the Japanese tragedy of the same name (1900), which Long and David Belasco adapted from the short story.


Premiere: Milan, La Scala, 17 February 1904


Second version

in two acts,the second divided into two partsBrescia, Teatro Grande, 28 May 1904


Third versionin two acts,London, Covent Garden, 10 July 1905


Final versionin three acts (in French)Paris, Op\u00e9ra Comique, 28 December 1906

in three acts (in Italian)New York, Metropolitan Opera House, 10 February 1907<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tThe Girl from the Golden West\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tAn opera in three acts, with a libretto by Guelfo Civinini and Carlo Zangarini based on David Belasco\u2019s play *The Girl of the Golden West* (1905).\nPremiere: New York, Metropolitan Opera House, 10 December 1910Italian premiere: Rome, Teatro Costanzi, 12 June 1911\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tThe swallow\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tA comic opera in three acts, with a libretto by Giuseppe Adami based on a story by Arthur Maria Willner and Heinz Reichter.Premiere: Monte Carlo, Th\u00e9\u00e2tre de l\u2019Op\u00e9ra, 27 March 1917\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Triptych: *Il Tabarro*, *Suor Angelica*, *Gianni Schicchi*<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tA one-act drama, libretto by Giuseppe Adami, based on Didier Gold\u2019s play *La Houppelande* (1910).
\nPremiere: New York, Metropolitan Opera House, 14 December 1918
\nItalian premiere: Rome, Teatro dei Costanzi, 11 January 1919\n

Suor Angelica<\/strong>\nA one-act opera, libretto by Giovacchino Forzano\n
Premiere: New York, Metropolitan Opera House, 14 December 1918\n
Italian premiere: Rome, Teatro dei Costanzi, 11 January 1919\n

Gianni Schicchi<\/strong>\nAn opera in one act, libretto by Giovacchino Forzano, based on the \u2018Anonimo Fiorentino\u2019s\u2019 Commentary on the Divine Comedy, published by Piero Fanfani (1866)\n
Premiere: New York, Metropolitan Opera House, 14 December 1918\n
Italian premiere: Rome, Teatro dei Costanzi, 11 January 1919\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tTurandot\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tAn opera in three acts, with a libretto by Giuseppe Adami and Renato Simoni based on Carlo Gozzi\u2019s play of the same name (1762). The final duet and the opera\u2019s finale were only sketched out. \n
First posthumous performance completed by Franco Alfano: Milan, Teatro alla Scala, 25 April 1926\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\tVocal and instrumental music\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1876<\/b> \u2013 Preludio a orchestra<\/i> in Mi minore-maggiore.
ante 1880<\/b> \u2013 A te<\/i>, per voce e pianoforte
1877<\/b> \u2013 Mottetto per San Paolino<\/i> \u00abPlaudite Populi\u00bb
1878<\/b> \u2013 \u00abCredo\u00bb per tenore, coro e orchestra
1878<\/b>? \u2013 Vexilla Regis<\/i>, inno per coro maschile e organo
1878-80<\/b> \u2013 Messa a quattro voci con orchestra<\/i> per soli (tenore e baritono) coro e orchestra
1881-3<\/b> circa \u2013 Largo Adagetto in Fa maggiore per orchestra
1882<\/b> \u2013 Preludio sinfonico in La maggiore per orchestra
1882<\/b> circa \u2013 Quartetto d\u2019archi<\/i> in Re maggiore
1881-1883<\/b> circa- Fughe reali<\/i> per quartetto d\u2019archi.- Andante poco mosso<\/i> in Do minore;Andante sostenuto<\/i> in La maggiore \u2013 Fughe a quattro vociModerato<\/i> in Re minore, Largo<\/i> in Do minore, Allegro moderato<\/i> in Sol maggiore, Moderato sostenuto<\/i> in Do maggiore, Largo in Mi minore, Sol maggiore, Do maggiore, Andante mosso<\/i> in Sol maggiore, Piuttosto lento<\/i> in Sol minore
1883<\/b> \u2013 Salve Regina<\/i>, per soprano e armonium
1883<\/b> \u2013 Capriccio sinfonico in Fa maggiore per orchestra
1883<\/b> \u2013 Ment\u00eca l\u2019avviso<\/i>, recitativo e aria per tenore e pianoforte
1883<\/b> \u2013 Ad una morta<\/i>, lirica per mezzosoprano o baritono e pianoforte
1883<\/b> \u2013 Storiella d\u2019amore<\/i>, melodia per canto e pianoforte
1884<\/b> \u2013 Tre minuetti per quartetto d\u2019archi<\/p>

1888<\/b> \u2013 Sole e amore<\/i>, mattinata per canto e pianoforte
1890<\/b> \u2013 Crisantemi<\/i>, elegia per quartetto d\u2019archi
1894<\/b> \u2013 Piccolo valzer<\/i> per pianoforte
1896<\/b> \u2013 Avanti Urania!<\/i>, lirica per voce e pianoforte
1897<\/b> \u2013 Inno a Diana<\/i>, per canto e pianoforte
1899<\/b> \u2013 E l\u2019uccellino<\/i>, ninna nanna per canto e pianoforte
1899<\/b> \u2013 Scossa elettrica<\/i>, marcia per pianoforte
1902<\/b> \u2013 Terra e mare<\/i>, lirica per canto e pianoforte
1904<\/b> \u2013 Canto d\u2019anime<\/i>, pagina d\u2019album per canto e pianoforte
1905<\/b> \u2013 Requiem per coro a tre voci, viola, armonium o organoEseguito a Milano, il 27 gennaio 1905, in occasione del quarto anniversario della morte di Giuseppe Verdi.
1905<\/b> \u2013 Ecce Sacerdos magnus<\/i>, per coro a quattro voci.
1905<\/b> \u2013 Dios y Patria<\/i>, per voce e pianoforte
1908<\/b> \u2013 Casa mia, casa mia<\/i>, lirica per canto e pianoforte
1907 o 1910<\/b> \u2013 Piccolo tango per pianoforte
1907 o 1910<\/b> \u2013 Foglio d\u2019album per pianoforte
1912<\/b> \u2013 Sogno d\u2019or<\/i>, ninna nanna per voce e pianoforte
1916<\/b> \u2013 Pezzo per pianoforte<\/i> (Calmo e molto lento).
1917<\/b> \u2013 circa \u2013 Morire?<\/i>, lirica per canto e pianoforte
1919<\/b> \u2013 Inno a Roma<\/i>, per canto e pianoforte<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tI Librettisti\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ferdinando Fontana<\/b> (1850 \u2013 1919)<\/p>

Giuseppe Giacosa<\/b> (1847 \u2013 1906)<\/p>

Luigi Illica<\/b> (1857 \u2013 1919)<\/p>

Puccini \/ Illica \/ Giacosa<\/b>
<\/a><\/p>

Giuseppe Adami<\/b> (1878 \u2013 1946)
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Renato Simoni <\/b>(1875 \u2013 1952)
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Puccini \/ Adami \/ Simoni<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

BIOGRAPHY Giacomo Puccini was born in Lucca on 22 December 1858 into a family that had been devoted to music for four generations, on both his father\u2019s and mother\u2019s sides. His father, Michele (1813\u20131864), died when Giacomo was just over five years old, and the boy\u2019s musical education was entrusted to his maternal uncle Fortunato […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-73215","page","type-page","status-publish","hentry"],"yoast_head":"\nGiacomo Puccini - 72nd Puccini Festival - July \/ September 2026<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.puccinifestival.it\/en\/giacomo-puccini\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Giacomo Puccini - 72nd Puccini Festival - July \/ September 2026\" \/>\n<meta property=\"og:description\" content=\"BIOGRAPHY Giacomo Puccini was born in Lucca on 22 December 1858 into a family that had been devoted to music for four generations, on both his father\u2019s and mother\u2019s sides. 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