We usually think of music as entertainment, but in the ancient world, music was often considered a form of medicine. Over the past few decades, scientists have rediscovered music’s healing abilities, and studies have shown that music can effectively treat conditions such as schizophrenia, depression, chronic pain, Parkinson’s, PTSD, autism, help stroke patients recover, and more.
Verismo composers were mainly opera composers; the new generation of composers was different, more eclectic. Franco Alfano’s two symphonies, among the most relevant Italian compositions of the first half of the 20th century as well as Zandonai’s remarkable collection of orchestral and chamber works show that their non-operatic compositions weren’t certainly occasional. Franco Alfano, as most knows, composed the music for the last 2 scenes of Turandot, Puccini’s last opera left unfinished after the composer’s death in 1924. Puccini had left sketches for the end of the opera, along with instructions to Riccardo Zandonai to finish it, yet, following Puccini’s son objections, to work on the draft and finish the opera, was instead chosen Franco Alfano. Both Alfano and Zandonai can be defined as “operatic symphonists” : they embodied a new way to define the relationship between music and drama. The drama was no longer described by the music; it was precisely the opposite: the drama provided the frame to the music. This process can be seen at its most in Zandonai’s Francesca where entire acts can be defined as symphonic poems. Since 1890 Wagner’s scores had spread widely in Italy. The scale and magnificence of the composer’s major works led […]
Gluck finally estabilished an indissoluble link between music and words, with music becoming the main element for the success of an opera. As in the striking aria “What shall I do without Euridice?”. It is through to the incomparable beauty and expressiveness of the melody sung by Orpheus that Love is presuaded to bring Euridice back to life.
Zandonai’s Francesca da Rimini tells of the tragic love story between Paolo and Francesca, told by Dante Alighieri in the 5th Canto of his Inferno, first part to the XIV century poem The Divine Comedy. Nearly 100 years later Boccaccio retold the story in his commentary on Dante’s Divine Comedy, adding details which are still historically controversial. In his account Malatesta from Verucchio, founder of the powerful Malatesta family, decided the marriage of his crippled son Gianciotto Malatesta to Francesca Da Polenta to put an end to the war between the two families. According to Boccaccio, Malatesta the Old, concerned that the bride could reject the bridegroom on the altar, sent in his place to perform a proxy marriage his handsome brother Paolo, a trick that she’d uncover only upon her arrival in Rimini. Gabriele D’Annunzio based the libretto for Zandonai’s opera on Boccaccio’s tale. His intention was to make of Zandonai’s Francesca da Rimini, (1902) the first of a series of dramatic works and the foundation to “the new Italian art”. D’Annunzio’s importance as a writer in the early-twentieth-century Italy was matched only by the prominence of his blatant, extravagant personality, his debts and his scandalous lifestyle, which left a trail […]