# Verismo (Mascagni, Leoncavallor, Giordano, Cilea, Zandonai, Charpentier etc.)



## HumphreyAppleby (Apr 11, 2013)

I gotta say, when I'm in a good mood, nothing is better than Italian music. It's the sound that sunshine would make. And the Bel Canto operas are very well-known and frequently discussed, but I wonder if anybody has a love like of the black sheep of the opera family: the verismo composers. If you do, tell about your favorite composer/opera/aria/singer etc. Or tell why you hate this kind of opera with a passion worthy Turridu.

Verismo is characterized by intense (often ridiculous) situations, melodious music, and "lower-class" class characters. I have yet to find an example of German verismo, but it could be out there.

Of the verismo composers, my favorite is Pietro Mascagni. _Cavalleria rusticana_ is, of course, wonderful, but not the only thing that he wrote of any value. _L'amico fritz_ is charming, with some truly gorgeous music, including, but certainly not limited to, the Cherry Duet. There are many great moment in his later operas. I haven't been fortunate enough to have been able to attend one.

The Barcarola from _Silvano_ is one of my favorite pieces.





Aria from Isabeau


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## Posie (Aug 18, 2013)

Though I have yet to hear a sub-genre of opera that I don't like, I definitely prefer verismo over bel canto. It just has so much heart and soul, and seems (to me) very accessible. It really brings out the beauty of the human voice.


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## Bardamu (Dec 12, 2011)

black sheep? don't be silly 

If you like Mascagni, the "must listen" operas of his are :
Iris (my favorite opera ever, listen to the Ottolini/Olivero recording directed by Vernizzi)
Cavalleria Rusticana (of course it's his most famous, no need to add anything more)
Il piccolo Marat (his last great opera IMO, check the recording with Virginia Zeani)
Isabeau (the recordings available are less than desirable IMO)
Parisina (maybe his most ambitious project, again no worthy recording available. Try the one directed by Urbini if you want to) 
L'amico Fritz (can't get any better than the Pavarotti/Freni couple)
Guglielmo di Ratclif
Zanetto (it's a little opera but very emotional)
Lodoletta (the more Puccini-like opera Mascagni ever did IMO, in fact the subject was briefly considered by Puccini)


I love Mascagni.


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## HumphreyAppleby (Apr 11, 2013)

Bardamu said:


> black sheep? don't be silly


But with three bags full of wool. I have no idea what that means, but there you are.


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## moody (Nov 5, 2011)

marinasabina said:


> Though I have yet to hear a sub-genre of opera that I don't like, I definitely prefer verismo over bel canto. It just has so much heart and soul, and seems (to me) very accessible. It really brings out the beauty of the human voice.


The problem is that bel canto is a way of singing and not a type of opera.
How can a tenor sing "Ed anche Beppe...O amore o bella luce.." from "L'Amico Fritz" without employing the bel canto technique?
Listen to Ferruccio Tagliavini's version.


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## schigolch (Jun 26, 2011)

As for German "verismo", you can try this one:






Yes, I like many operas, from many of the composers you mention. Perhaps, among the composers that have been associated to the "verismo" movement, my favorite is also Mascagni. But I also enjoy operas from Giordano, Leoncavallo, Leoni, Zandonai, Wolf-Ferrari, Alfano, Catalani, Franchetti, Montemezzi, Recife, Smareglia,... There are some wonderful arias too. Listen to "Esser madre è un inferno" (To be a mother, it's like living in Hell), from Cilea's _L'Arlesiana:_


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## moody (Nov 5, 2011)

schigolch said:


> As for German "verismo", you can try this one:
> 
> 
> 
> ...


Well look who's singing !!


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## Bardamu (Dec 12, 2011)

It's in italian but the following video with Olivero and Tebaldi chitchatting about Opera in general and verismo in particular is fantastic.

Magda Olivero: "But today where do you find the Kyoto? and where do you find the Iris?"
So true Magda, so true.


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## Revenant (Aug 27, 2013)

I spent most of my life concentrating on Verdi, Puccini, verismo and Mozart (odd grouping, I know), until lately when I've expanded my interests, or trying to do so.

My two favorite operas from the period in question, both for the libretto and the music, are Pagliacci and Andrea Chenier.

Pagliacci is concise, dramatically more impacting for me than Cavalleria. This, yes, at the expense of symphonic sweep, which is not required by the nature of this particular opera, although I can see how it would have limited or constrained Leoncavallo's range going forward as an operatic composer. Mascagni was the better musician, but Leoncavallo - at least in this one opera (afaik) - has a more intense and dramatic command of the action. The character-drawing and interaction of the principals, plus the painting of provincial color, does not detract from the drama but actually add to it. 

Chenier has some of the most effective and affecting scenes and passages in opera, imo. The 'villain', Gerard, is not a one-dimensional monster. The first scene gives us the background for what happens later and both Gerard and Maddalena de Coigy have their arc, which is not that common in an opera.


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## HumphreyAppleby (Apr 11, 2013)

Revenant said:


> Chenier has some of the most effective and affecting scenes and passages in opera, imo. The 'villain', Gerard, is not a one-dimensional monster. The first scene gives us the background for what happens later and both Gerard and Maddalena de Coigy have their arc, which is not that common in an opera.


I agree about _Chenier_. Illica wrote a very good libretto. The thing that most impresses me about this opera is the arias: they just keep coming. I can't think of an opera with more famous/great arias in it, except maybe _Turandot_ or _Rigoletto_. L'improvviso, Nemico della patria, La mamma morta, Si fui soldato, Come un bel di' di maggio... they just keep coming. Giordano was having a really good day. Unfortunately, I have yet to find a recording of the opera which odes full justice to all of them. Any suggestions?

I didn't mention this in the OP, but there is sort (or was) a small sub-genre of singing that I think could be labeled "verismo". Of verismo artists, I think Magda Olivero carries the day. Her performances are the essence of verismo. I was also blown away by the verismo performances of Jon Vickers. His Pagliaccio is number one in my book.

@Schigolch I would add to my list: Cilea, Ponchielli, Bizet, Massenet (as in _Werther_, _Manon_, and _La navarraise_, Charpentier, and of course several Puccini operas.


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## Bardamu (Dec 12, 2011)

Revenant said:


> Pagliacci is concise, dramatically more impacting for me than Cavalleria. This, yes, at the expense of symphonic sweep, which is not required by the nature of this particular opera, although I can see how it would have limited or constrained Leoncavallo's range going forward as an operatic composer. Mascagni was the better musician, but Leoncavallo - at least in this one opera (afaik) - has a more intense and dramatic command of the action. The character-drawing and interaction of the principals, plus the painting of provincial color, does not detract from the drama but actually add to it.


Agree, Pagliacci has a very smart libretto.
Just look at the opera introduction which is meant to be the manifesto of the then new booming movement.



HumphreyAppleby said:


> Giordano was having a really good day.


As a composer maybe but as a man he was on the brink to leave opera before the big success that was the Chenier premiere.
How he fought to get the success though was really remarkable (Franchetti was a big help too).


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## HumphreyAppleby (Apr 11, 2013)

I admit to ignorance of Giordano's biography. All I can say is that often it is in or after their greatest distress that artists produce their best work.


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## Marschallin Blair (Jan 23, 2014)

> HumphreyAppleby: Verismo (Mascagni, Leoncavallor, Giordano, Cilea, Zandonai, Charpentier etc.)


Great posts.


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## HumphreyAppleby (Apr 11, 2013)

Karajan performing Mascagni is a dream. Gorgeous.

Here's the whole opera! A beautiful film, albeit hard to follow at times.


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## Revenant (Aug 27, 2013)

HumphreyAppleby said:


> I agree about _Chenier_. Illica wrote a very good libretto. The thing that most impresses me about this opera is the arias: they just keep coming. I can't think of an opera with more famous/great arias in it, except maybe _Turandot_ or _Rigoletto_. L'improvviso, Nemico della patria, La mamma morta, Si fui soldato, Come un bel di' di maggio... they just keep coming. Giordano was having a really good day. *Unfortunately, I have yet to find a recording of the opera which odes full justice to all of them. **Any suggestions?* [...snip...]


Being an oldster, I can relate much better to the 'historical' recordings which originally led me to love this opera. If you prefer or absolutely require more modern recordings then YMMV. That said, these are the ones I have. I like them all, with the Gigli and the two Corelli versions being the best, imo. (Yes, Corelli. I have reservations about his perfervid singing in many other operas, but he is perfect as Chenier.) Illica could dispense with the Giacosa lyricism in this opera, giving his penchant for construction and gift for strong, dramatic lyrics in the arias. Aside from the highlights you mention I would add the stunning final Maddalena-Chenier duet in the shadow of the guillotine. What a way to bring down the curtain!

Chronologically:
1. 1941. Studio recording. Gigli, Caniglia, Bechi, cond. Oliviero De Fabritiis, Orchestra e Coro del Teatro alla Scala di Milano. Arkadia. Gigli a bit past his prime but still shines in his signature role as Chenier. Bechi is a great Gerard.

2. Vienna 1960. Live performance. Corelli, Tebaldi, Bastianini; cond. Lovro von Matacic. Corelli at the top of his form, with Tebaldi's sensitive take on Maddalena and Bastianini playing to his strengths as Gerard (a bit lacking in layered subtlety though). Melodram

3. 1963 Studio recording. Corelli, Mario Sereni, Antonietta Stella; cond. Gabriele Santini, Opera di Roma. EMI Classic. I would choose the Vienna live over this one, but this one is good.

4. 1976 Studio recording. Domingo, Scotto, Milnes; cond. James Levine. National Philharmonic. The RCA Victor Opera Series. My personal opinion, as always: Domingo is a good actor but is simply not my favorite choice in this role -- again YMMV. Scotto is also a bit of an acquired taste as Maddalena. Milnes good as Gerard.

I purchased all of the above years ago; these are all '90s editions of the respective versions. I don't even know if Arkadia or Melodram are still in business, but there should be technically better remasterings of the first three at least from other recording companies, although the early remasterings I have (possibly using the Cedar system) seem fine to me. Then again, I'm no ****-retentive audiophile, I just like or dislike what I hear.

A fifth suggestion would be the Bel Canto Society dvd of a televised RAI program with His Loudness himself, Mario del Monaco, who is splendid in this role, which after all was made for a tenore di forza throughout. Stella, again. And Giuseppe Taddei sings and acts Gerard as if he were born for the part: bitterness - and born out of that or giving birth to it: truculence and fanaticism verging on brutality; fighting with his smitten love, irony, disillusion and, finally, rueful regret. If you get this dvd, watch Taddei's face as he sings Nemico della Patria. Note: From a RAI kinoscope from a 1955 TV program. No subtitles, which is not a deal breaker for me (I understand Italian and have this opera grafted forever in memory).

Younger and more up to date forum members will, I'm sure, recommend much more recent versions. Maybe there's a Jonas Kaufmann version out there, which would be great.


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## Revenant (Aug 27, 2013)

HumphreyAppleby said:


> I admit to ignorance of Giordano's biography. All I can say is that often it is in or after their greatest distress that artists produce their best work.


Reportedly, he couldn't even find a piano in which to compose the score. He was allowed to use the piano in a funeral home, at night, when it was wasn't needed for the viewing services. There he was, surrounded by the dear departed awaiting final respects and internment, as he wrote that music. Viva la morte, insieme!


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## schigolch (Jun 26, 2011)

Those suggestions for recordings of Chénier are great. Speaking about Mario del Monaco, he treasured a score of "Andrea Chénier" signed by Giordano himself, 'to my Chénier', when the composer listened to the young del Monaco singing the role. The DVD with Stella and Taddei is complete in YouTube:


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## Revenant (Aug 27, 2013)

schigolch said:


> Those suggestions for recordings of Chénier are great. Speaking about Mario del Monaco, he treasured a score of "Andrea Chénier" signed by Giordano himself, 'to my Chénier', when the composer listened to the young del Monaco singing the role. The DVD with Stella and Taddei is complete in YouTube:


Excellent! There you have it Humphrey, just check it out on you tube. But see if you can find the live Vienna performance.


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## HumphreyAppleby (Apr 11, 2013)

Thank you! The only version I own is the audio recording with del Monaco, Tebaldi, and Bastianini. It's very good, but I often don't care for Tebaldi's studio recordings, and del Monaco can be rough. The only other version I'd heard in full is the Pav/Caballe/Nucci recording, which has a poor Improvviso from Pavarotti and a lackluster Nemico della patria from Nucci. But Caballe's performance is incredible to me!

I checked out the film (I also speak Italian, so bring on the no-subtitles!). It's well sung on many accounts, especially Taddei. His singing of the line "Com'era irradiato di gloria il mio cammino" gave me major chills. Thanks for the suggestion! My next choice in the audio realm will probably be the Corelli/Stella/Sereni recording. I'm not usually a huge Corelli fan, but I agree that he works very well here.

Here's my favorite Un di all'azzuro spazio. This has to be the best aria in versimo.





It's so good, why not a different take also.





Sereni's performance on the Corelli record, which I've heard as a single track, is my favorite Nemico della patria. I think I'm partial to Sereni's voice.


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## Revenant (Aug 27, 2013)

HumphreyAppleby said:


> Thank you! The only version I own is the audio recording with del Monaco, Tebaldi, and Bastianini. It's very good, but I often don't care for Tebaldi's studio recordings, and del Monaco can be rough. *The only other version I'd heard in full is the Pav/Caballe/Nucci recording*, which has a poor Improvviso from Pavarotti and a lackluster Nemico della patria from Nucci. But Caballe's performance is incredible to me!
> 
> I checked out the film (I also speak Italian, so bring on the no-subtitles!). It's well sung on many accounts, especially *Taddei. His singing of the line "Com'era irradiato di gloria il mio cammino" gave me major chills. *Thanks for the suggestion! My next choice in the audio realm will probably be the Corelli/Stella/Sereni recording. I'm not usually a huge Corelli fan, but I agree that he works very well here. [...snip...


I'm glad you agree with me on Taddei. You may not like Bastianini much (quite a few don't), but you might give the 1960 Vienna live version a try as well. Concerning Pavarotti, just be grateful you never had to watch the broadcast of his late career turn as Chenier at the Met. Incredibly inept and, worse, obviously he hadn't been able (or bothered to) learn the role properly.


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## Marschallin Blair (Jan 23, 2014)

HumphreyAppleby said:


> I gotta say, when I'm in a good mood, nothing is better than Italian music. It's the sound that sunshine would make. And the Bel Canto operas are very well-known and frequently discussed, but I wonder if anybody has a love like of the black sheep of the opera family: the verismo composers. If you do, tell about your favorite composer/opera/aria/singer etc. Or tell why you hate this kind of opera with a passion worthy Turridu.
> 
> Verismo is characterized by intense (often ridiculous) situations, melodious music, and "lower-class" class characters. I have yet to find an example of German verismo, but it could be out there.
> 
> ...


---
03:23-03:45-- _so_ awesome!!!


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## schigolch (Jun 26, 2011)

An opportunity to watch in youtube a performance of "L'Arlesiana", complete with English subtitles by Paul Greif. The performance is from Parma, in 1996, with a solid cast:






A very beautiful, but very neglected opera.


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