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Updated: May 4, 2025
Idealistic, sentimental, dreamy, impractical, but intensely responsive to beauty, rhythm and imagery. Has creative power. Edward DeReszke, Opera Singer. Great artistic and musical talent, with capacity for sentiment and emotion. Puccini. Composer. Has artistic talent and creative ability together with, energy, ambition, persistence, courage, determination. Rather mild in disposition.
At this period of his life Wagner was by no means so economical as he afterwards became; he squandered his pearls with prodigal hands. In a few pages are enough melodies and themes to set up a Puccini or for that matter a Strauss or an Elgar for life.
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.
It was unreal. She had left the apartment in the Avenue de Wagram on Saturday afternoon, and nothing had been seen or heard of her since. At the last moment they had had to find a substitute for her part in the Puccini opera. The maid testified that her mistress had gone on an errand of mercy.
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.
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.
Therefor we must be wary of the old men who tell us that we shall soon tire of the music of Puccini because it is fashionable. Popularity is scarcely a test. I have mentioned Mendelssohn. Never was there a more popular composer, and yet aside from the violin concerto what work of his has maintained its place in the concert repertory?
At its production in Milan it was hissed off the stage and withdrawn after a single performance. No one seems to know why it failed to please the Scala audience, with whom Puccini had previously been a great favourite. Possibly the unfamiliar Japanese surroundings displeased the conservative Milanese, or the singers may have been inadequate.
But she took to herself what credit accrued to general quoting, quoting from newspapers, from her aunt's boarders, from chance conversations overheard on the cars. "Oh, Puccini will never do anything to TOUCH Bizet!" Susan asserted firmly. Or, "Well, we'd be fighting Spain still if it wasn't for McKinley!" Or, "My grandmother had three hundred slaves, and slavery worked perfectly well, then!"
The great concerted piece with which the act ends is a masterly piece of writing, and proves that Puccini can handle a form, which as employed by lesser men is a synonym for stereotyped conventionality, with superb passion and sincerity. But Puccini's earlier successes sank into insignificance by the side of the triumph of 'La Bohème, which was produced in 1896.
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