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I loved the beautiful country, and the life suited me. The people were kind. I had my own home in Florence, which is still there and to which I can return when my season is over here. Best of all I had the opportunity of creating all the new tenor rôles in the recent operas of Puccini, Montemezzi, Pizzetti and Gratico.
He hated Puccini and spoke rather disrespectfully of Wagner as a spell-binder. He liked Wolf-Ferrari pretty well; the modern he was really crazy about was Montemezzi. But he had made her sing oceans of Gluck, both the Iphigenia and Euridice.
The new men, such as Wolf-Ferrari, Montemezzi, Giordano, and numerous others are eclectics; they belong to any country, and their musical cosmopolitanism, while affording agreeable specimens, may be dismissed with the comment that their art lacks pronounced personal profile. This does not mean that L'Amore dei Tre Re is less delightful.
"Of the great modern Italian composers, I feel that Puccini is the most important, because he has a more intimate appreciation of theatrical values. He seems to know just what kind of music will fit a series of words or a scene, which will best bring out the dramatic sense. Montemezzi is also very great in this respect.
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