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In 1881 he composed a cantata, "In Filanda," and a setting of Schiller's hymn, "An die Freude," both of which had successful public performances. The former attracted the attention of a rich nobleman who furnished young Mascagni with the means to attend the Milan Conservatory.

He had his box at the opera and always occupied it during the season. And he enjoyed music of all kinds, not only the modern operas of Mascagni, Puccini and so on, but also the old music of Verdi, Donizetti and Bellini. I asked if he did not like Le Nozze di Figaro. He had never heard of it, nor of Don Giovanni, nor of Fidelio.

Her voice is superb, yet she often loses a vocal opportunity for dramatic effect, often mars its beauty in the excitement that tears a passion to tatters. Withal there is a charm to her singing that can never be forgotten by those who have heard it. Her first triumph was won as the interpreter of Santuzza, in "Cavalleria Rusticana," Mascagni himself preparing her for the rôle.

If Mascagni had only followed the example of Single-Speech Hamilton, he would have spared himself many mortifications and his admirers much boredom.

And the Schenckius, the folio filled with casus rariores, which had strayed in among the rubbish of the bookstall on the boulevard, and the noble old Vesalius with its grand frontispiece not unworthy of Titian, and the fine old Ambroise Pare, long waited for even in Paris and long ago, and the colossal Spigelius with his eviscerated beauties, and Dutch Bidloo with its miracles of fine engraving and bad dissection, and Italian Mascagni, the despair of all would-be imitators, and pre-Adamite John de Ketam, and antediluvian Berengarius Carpensis, but why multiply names, every one of which brings back the accession of a book which was an event almost like the birth of an infant?

Not a particularly good business man. More interested in music than in money. John S. Sargent, R.A., Portrait Painter. Keen powers of observation, high ambition, great energy, fine discrimination, excellent powers of expression, and social qualities. Pietro Mascagni. Composer. Musical, emotional sensuous, impulsive, spasmodically energetic. Richard Burton. Author.

It has also been open to various kinds of foreign art: Humperdinck's Hänsel und Gretel, Verdi's Falstaff, the works of Puccini, Mascagni, and the young Italian school, Richard Strauss's Feuersnot, Rimsky-Korsakow's Snégourotchka, have all been played.

The name of Pietro Mascagni is chiefly connected in the minds of opera-goers with 'Cavalleria Rusticana, This work, which was produced in 1890, lifted its composer at once into popularity. The story is founded upon one of Verga's Sicilian tales. Turiddu, a village Adonis, is beloved by the fair Lola.

Through the mists that were gathering he savoured a fulminating bouquet of patchouli, musk, bergamot, and he recalled the music of Mascagni. Brahms strode stolidly on in company with new-mown hay, cologne, and sweet peas. Liszt was interpreted as ylang-ylang, myrrh, and maréchale; Richard Strauss, by wistaria, oil of cloves, chypre, poppy, and crab-apple.

Christophe was delighted. But when he looked at the bills of the Parisian theaters, he saw the names of Meyerbeer, Gounod, Massenet, and Mascagni and Leoncavallo names with which he was only too familiar: and he asked his friends if all this brazen music, with its girlish rapture, its artificial flowers, like nothing so much as a perfumery shop, was the garden of Armide that they had promised him.