Works
Puccini also wrote orchestral pieces, sacred music, chamber music and songs for voice and piano, most notably his 1880 mass Messa di gloria and his 1890 string quartet Crisantemi. However, he is primarily known for his operas:
- Le Villi, libretto by Ferdinando Fontana (in one act – premiered at the Teatro Dal Verme, 31 May 1884)
- Edgar, libretto by Ferdinando Fontana (in four acts – premiered at La Scala, 21 April 1889)
- Manon Lescaut, libretto by Luigi Illica, Marco Praga and Domenico Oliva (premiered at the Teatro Regio, 1 February 1893)
- La bohème, libretto by Luigi Illica and Giuseppe Giacosa (premiered at the Teatro Regio of Torino, 1 February 1896)
- Tosca, libretto by Luigi Illica and Giuseppe Giacosa (premiered at the Teatro Costanzi, 14 January 1900)
- Madama Butterfly, libretto by Luigi Illica and Giuseppe Giacosa (in two acts – premiered at La Scala, 17 February 1904)
- La fanciulla del West, libretto by Guelfo Civinini and Carlo Zangarini (premiered at the Metropolitan Opera, 10 December 1910)
- La rondine, libretto by Giuseppe Adami (premiered at the Opéra of Monte Carlo, 27 March 1917)
- Il trittico (premiered at the Metropolitan Opera, 14 December 1918)
- Il tabarro, libretto by Giuseppe Adami
- Suor Angelica, libretto by Giovacchino Forzano
- Gianni Schicchi, libretto by Giovacchino Forzano
- Turandot, libretto by Renato Simoni and Giuseppe Adami (incomplete at the time of Puccini's death, completed by Franco Alfano: premiered at La Scala, 25 April 1926
Read more about this topic: Giacomo Puccini
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“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
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“A creative writer must study carefully the works of his rivals, including the Almighty. He must possess the inborn capacity not only of recombining but of re-creating the given world. In order to do this adequately, avoiding duplication of labor, the artist should know the given world.”
—Vladimir Nabokov (1899–1977)