Giacomo Antonio Domenico Michele Secondo Maria Puccini (December 22, 1858 –… Read Full Bio ↴Giacomo Antonio Domenico Michele Secondo Maria Puccini (December 22, 1858 – November 29, 1924) is regarded as one of the great operatic composers of the late 19th and early 20th century. Although he wrote only twelve operas, Puccini's works dominate the operatic stage, particularly in the United States, where, according to Opera America, Madama Butterfly and La Bohème are the two most frequently performed operas respectively, with Tosca being eighth and Turandot being twelfth on the same list. Known for his melodic ability, orchestra depth, and dramatism, in Italian opera, Puccini was the only true successor to Giuseppe Verdi.
Puccini was born in Lucca, Italy into a family with a long history of music. After the death of his father when he was only five years old, he was sent to study with his uncle Fortunato Magi, who considered him to be a poor and undisciplined student. Later, he took the position of church organist and choir master, but it was not until he saw a performance of Verdi's Aida that he became inspired to be an opera composer. He and a friend walked an entire 18.5 miles (30 Kilometers) to see the performance in Pisa. In 1880, Puccini travelled to the Conservatory of Music in Milan to begin his career by studying composition with Amilcare Ponchielli.
In 1880, the Messa composed at the age of 21, marked the end of Puccini's apprenticeship as a composer and the culmination of his family's long association with church music in his native Lucca. (Note: This name normally applies only to a "Gloria" mass, setting the opening two prayers of the Catholic Mass, the Kyrie and the Gloria. However, the Messa is a setting of the full Catholic Mass.) The work offers fascinating glimpses of the dramatic power that Puccini was soon to unleash on Milan's stages; the powerful arias for tenor and bass soloists are certainly more operatic in feel than is usually encountered in church music. The orchestration and the overall feeling of drama conveyed by his music establish a dialogue with Verdi's Requiem and perhaps already constitute a prediction of the future operatic career Puccini would embrace for life.
From 1880 to 1883 he studied at the Milan Conservatory under Ponchielli and Antonio Bazzini. In 1882, Puccini entered a competition for a one-act opera. Although he did not win, Le Villi was later staged in 1884 at the Teatro dal Verme; it also caught the attention of Giulio Ricordi, head of G. Ricordi & Co. music publishers, who commissioned a second opera, Edgar (1889).
From 1891 on, Puccini passed more and more of his time at Torre del Lago, in the Tuscan countryside. In this place on the border of the Massaciuccoli lake, where he passed lots of time hunting, he found refuge from the crowded city. Later he built a villa and moved there definitively in 1900. It was to remain his home and workplace until the very last years of his life. He is buried in the villa's chapel.
Puccini was born in Lucca, Italy into a family with a long history of music. After the death of his father when he was only five years old, he was sent to study with his uncle Fortunato Magi, who considered him to be a poor and undisciplined student. Later, he took the position of church organist and choir master, but it was not until he saw a performance of Verdi's Aida that he became inspired to be an opera composer. He and a friend walked an entire 18.5 miles (30 Kilometers) to see the performance in Pisa. In 1880, Puccini travelled to the Conservatory of Music in Milan to begin his career by studying composition with Amilcare Ponchielli.
In 1880, the Messa composed at the age of 21, marked the end of Puccini's apprenticeship as a composer and the culmination of his family's long association with church music in his native Lucca. (Note: This name normally applies only to a "Gloria" mass, setting the opening two prayers of the Catholic Mass, the Kyrie and the Gloria. However, the Messa is a setting of the full Catholic Mass.) The work offers fascinating glimpses of the dramatic power that Puccini was soon to unleash on Milan's stages; the powerful arias for tenor and bass soloists are certainly more operatic in feel than is usually encountered in church music. The orchestration and the overall feeling of drama conveyed by his music establish a dialogue with Verdi's Requiem and perhaps already constitute a prediction of the future operatic career Puccini would embrace for life.
From 1880 to 1883 he studied at the Milan Conservatory under Ponchielli and Antonio Bazzini. In 1882, Puccini entered a competition for a one-act opera. Although he did not win, Le Villi was later staged in 1884 at the Teatro dal Verme; it also caught the attention of Giulio Ricordi, head of G. Ricordi & Co. music publishers, who commissioned a second opera, Edgar (1889).
From 1891 on, Puccini passed more and more of his time at Torre del Lago, in the Tuscan countryside. In this place on the border of the Massaciuccoli lake, where he passed lots of time hunting, he found refuge from the crowded city. Later he built a villa and moved there definitively in 1900. It was to remain his home and workplace until the very last years of his life. He is buried in the villa's chapel.
Manon Lescaut: Act I. "Donna non vidi mai"
Giacomo Puccini Lyrics
We have lyrics for these tracks by Giacomo Puccini:
Act II: Un bel di vedremo Un bel dì, vedremo Levarsi un fil di fumo Sull'estremo confi…
Act III: E lucevan le stelle E lucevan le stelle E olezzava la terra Stridea l'uscio dell…
Gianni Schicchi: "O mio babbino caro" O mio babbino caro, Mi piace è bello, bello; Vo'andare in Po…
Gianni Schicchi: O Mio Babbino Caro O mio babbino caro, Mi piace è bello, bello; Vo′andare in Po…
Gianni Schicchi: O mio babbino caro' O mio babbino caro Mi piace è bello, bello Vo' andare in…
La Fanciulla del West: Ch'ella mi creda Ch'ella mì creda libero e lontano Sopra una nuova via di…
La Tosca: E Lucevan Le Stelle E lucevan le stelle E olezzava la terra Stridea l'uscio dell…
Madama Butterfly Un Bel Di Vedremo Di Cataldo Massimo Anime Un Giorno Vedrai Ci sono certi gior…
Madame Butterfly Un bel dì, vedremo Levarsi un fil di fumo Sull′estremo confi…
Manon Lescaut: Act 1: Donna non vidi mai Donna non vidi mai simile A questa! A dirle: io t′amo, A nuo…
Musetta's Waltz Quando me'n vo' Quando me'n vo' soletta per la via, La gente…
Nessun dorma Nessun dorma! Nessun dorma! Tu pure, o, principessa, Nella t…
Nessun dorma (Andrea Bocelli) Nessun dorma! nessun dorma! Tu pure, o, principessa, Nella t…
Nessun dorma! Nessun dorma! Nessun dorma! Tu pure, o, principessa, Nella t…
O mio babbino caro O mio babbino caro, mi piace, è bello, bello. Vo'andare in…
O mio babbino caro from "Gianni Schicchi" O mio babbino caro Mi piace è bello, bello Vo′andare in Port…
O mio babbino caro (Gianni Schicchi) O mio babbino caro, mi piace è bello, bello; vo'andare in Po…
O Mio Babbino Caro from Gianni Schicchi O mio babbino caro Mi piace è bello, bello Vo'andare in Port…
O Mio Bambino Caro O mio babbino caro Mi piace è bello, bello Vo' andare in…
One Fine Day Weeping? And why? And why? Ah, ′tis faith you are lacking He…
Puccini : O Mio Babbino Caro O mio babbino caro Mi piace è bello, bello Vo' andare in…
Quando M'en Vo Quando me'n vo' Quando me'n vo' soletta per la via, La gente…
Tosca : E lucevan le stelle E lucevan le stelle E olezzava la terra Stridea l'uscio dell…
Tosca: Act 3: E Lucevan Le Stelle E lucevan le stelle Ed olezzava la terra Stridea l′uscio del…
Tosca: E lucevan le stelle E lucevan le stelle E olezzava la terra Stridea l'uscio dell…
Tosca: Recondita armonia CAVARADOSSI (Al Sagrestano) Dammi i colori! (Il Sagrestano …
Turandor: Nessun dorma! Nessun dorma! Nessun dorma! Tu pure, o, principessa, Nella t…
Turandot: "Nessun dorma" Nessun dorma! Nessun dorma Tu pure, o, principessa Nella tua…
Turandot: Act 3: Nessun Dorma Nessun dorma! Nessun dorma! Tu pure, o, principessa Nella tu…
Turandot: Nessun dorma Nessun dorma! Nessun dorma! Tu pure, o, Principessa Nella …
Turandot: Nessun dorma! Nessun dorma! Nessun dorma! Tu pure, o, principessa, Nella t…
Un bel di bedremo Un bel dì, vedremo Levarsi un fil di fumo Sull'estremo confi…
Un bel dì vedremo Di Cataldo Massimo Anime Un Giorno Vedrai Ci sono certi gior…
Un del di vedremo Un bel dì, vedremo Levarsi un fil di fumo Sull'estremo confi…
Vissi d'arte Vissi d′arte, vissi d'amore, non feci mai male ad anima…
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@fernandopinheirobb
DONNA NON VIDI MAI
A ária da ópera Manon Lescaut, de Puccini,
“Donna non vidi mai” (Nunca vi uma mulher
Como esta!), compositor da terra de Paganini,
Faz-nos todos, com a imensa alegria, acolher
A sugestão de ficar enamorado da pretendida,
Sentindo as palavras perfumadas na mente:
“Minha alma desperta para uma nova vida”.
Veja: os eflúvios de amor a ninguém mente.
A carreira da pianista e flautista Andrea Luísa
Teixeira tem encantamento que vem da flauta
E do piano a nos sugerir apreciar a pesquisa
Pelas boas músicas do exterior e da identidade
Musical do Brasil, o Cerrado está em pauta
E outros encantos sutis para qualquer idade. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - DONNA NON VIDI MAI (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
@zoehardy5230
We won't hear or see this again, not here in the USA, perhaps not in Europe either. When I received news that Jonas Kaufmann had cancelled all performances of Manon Lescaut at the Met because of illness, I burst into tears, not a usual thing with me. Then Opera News on the Internet informed us Jonas had a slipped disc, and I felt that his misery called for our deepest sympathies. Next, the New Yorker's Feb.8 & 15 issue, in the Classical Music section reported that he had "withdrawn" from the Manon Lescaut performances. "Withdrawn" is such a tasteful and non-revealing word. I only know we won't ever see and hear him as Des Grieux at the Met, and I suspect he suffers from some sizeable misery not revealed by the media.
I am 89 Years old and a life long opera lover. I've seen operas in the USA and abroad, heard them on the radio, seen them on TV and YouTube, and have many audio tapes and DVD's of favorite performances and performers. I live in the town of Jackson in Jackson Hole, a very beautiful spot on this earth, but quite isolated I am fortunate that classical music does make its way in here, but I live on low Social Security which means I can't afford to travel to the music which is performed far away.
In the recent past I have ushered for the Live in HD Operas shown in the concert hall inTeton Village, the large ski resort in Jackson Hole. It was the broadcast of the "large plank" production of the Met Ring Cycle that I first heard Jonas Kaufmann sing. He was Sigmund in Die Walküre and I was so struck by his voice I thought; "This sound is what has been missing in all the years I have been listening to Opera." I had heard glorious voices in the past, but his tenor's voice was dark and beautiful with not even a tinge of the Irish barsinger tenor in his singing. Then I found on YouTube many of his arias, lieder, art songs etc. which helped me see how his astounding career developed. I considered myself a devotee of his glorious singing and acting who would never be able to hear him singing in the flesh on the opera stage, or standing in front of an orchestra or piano in a concert hall. I was old but able to travel, I just hadn't the financial means to travel to the places where he was to sing.
When Jonas' Wagner album was issued I bought it right away and found his singing was a delight and the Maestro, Donald Runnicles, was his Wagner conductor. I was familiar with the Maestro because for several years I had ushured for his symphony and ensemble concerts at the summer Grand Teton Music Festival. After a concert I, bearing the Wagner album in hand, went to Runnicles' dressing room and held the album up for his signature. He said , "I think I recognize that album." We had a short chat in which I said I was glad to have lived long enough to hear Jonas sing even though it was only on electronic devices, and I mourned the fact that I could never afford to hear him in person. We agreed that his singing was subline. I was very pleased to get the Maestro's signature, and resigned myself to the reality that I would never get Jonas's signature too.
Then around this Christmas just past, some incredible things began to happen. Money, unexpected, began to trickle my way. Money from friends and family who thought what about me I don't know.
I began to think about the Manon Lescauts Jonas was going to sing at the Met in February. I talked about it with my daughter who lives in Minnesota and is a recent widow. She said she didn't feel like Christmas Shopping so she would actually foot the air fares to New York and back. Not just for me, but for my granddaughter, Cara Johnson, a music lover with a Bachleor's Degree in Music, and a RN in Nursing, an ideal travel companion for one of my venerable age. She is with the Mayo Clinic in Rochester, Minnesota, and would drive up to Minneapolis and join me for the flight to New York. I ordered two tickets for the balcony and we managed to stretch the available pennies to cover other costs of such a trip to the Met. Cara organized her shifts at Mayo's with other nurses. I've been to Met Operas several times. Cara has never been to a Met Opera. My local friends who knew about these hopes and plans expressed such joy I was astounded!'
Then I got the news in an E-mail Cara sent me. I felt helpless to do a thing. What of all the non-refundable pennies we stretched to the limit to get there, to be lodged in Manhattan, to buy tickets for the Met balcony. I grieved. Cara stood fast. She wanted to go to the opera. She had done a lot to get the days off for this extravaganza. She would be in the Met Opera Building hearing a great opera; one of the worlds greatest orchestras playing Puccini's music, an up and coming soprano, and a tried and true tenor who had quickly learned the role to replace Kaufmann's Des Grieux.
So, we will take the journey to New York from Wyoming and Minnesota, skip meals, lose sleep, do some quick sight seeing, and will be sitting expectantly in our balcony seats the evening of Feb. 24th. We will fly back to our homes the next day.
I wish Jonas good luck with his health, his state of mind and his talents for the future.
I know the opportunity to hear him sing live will never come so close again.
Zoe Hardy
@bodiloto
voce,tecnica e sensibilità artistica poco adatte à questo repertorio.
non sento nessuna poesia in questa voce strangolata.
come rimane vivo Kaufmann dopo aver gridato durante tutta l'aria negli spasimi e al limite delle sue possibilità ''vocali'' non lo so...
la forza della natura.
ho la sensazione che quando Kaufmann sta interpretando questa musica non capisce non ''sente'' il senso delle parole.
il colore della sua voce non corrisponde allo stile pucciniano.
incredibile ma vero.
anche i bambini hanno sentito parlare del ''fenomeno'' che c'è una differenza fra l'arte pucciniana e la musica di Wagner...
si ''sente'' che Kaufmann non è preparato tecnicamente per questo ruolo,è un vero peccato.
e poi mi dicono che Kaufmann ha una voce drammatica grande...
una voce lirica grande nel senso artistico canta quest'aria con una facilità disarmante appoggiando si sulla dolcezza e la poesia della voce.
almeno la cantavano così i tenori della mia gioventù.
per me Kaufmann ha una voce finta,ingolata e severamente limitata nella sua bellezza espressiva.
da anni aspetto che Kaufmann finalmente farà una frase sola come cantavano i tenori negli anni 1950-60 cioè come un tenore vero.
da anni...
ma perché questo bravo ragazzo non va in Italia per capire che il suo modo di cantare non è italiano,e la sua voce non ha niente à vedere con le voci dei tenori italiani.
poi mi dicono che Kaufmann è un cantante d'origine tedesca...
e allora?
come cantavano negli anni 60 i tenori stranieri la lirica italiana?...
cercavano con le loro voci di avvicinarsi in massimo alla sonorità tipica italiana e non dicevano mai di quale origine sono!
quando un cantante lirico sta interpretando la musica lirica italiana deve fare molta attenzione ai colori che sta usando nella sua voce.
l'arte lirica italiana è l'arte più ricca del mondo piena dei colori e i stili diversi.
un artista lirico vero chi rispetta la sua arte anzi d'origine tedesca deve rendersi conto di questa realtà e di cercare di interpretare il repertorio italiano all'italiana.
perché i tedeschi anche oggi sono così esigenti verso gli stranieri quando si tratta della musica di Wagner?...e perché i maestri d'orchestra d'origine italiana non spiegano à Kaufmann come si canta all'italiana?...
o tempora o mores
@bodiloto
+Ivan Curic
''the best'' ?!....
amico,spiegami come mai uno tenore corto cioè senza acuti può essere il migliore tenore del mondo?
avevo sentito per la prima volta Kaufmann à Parigi,poi Zürich, München, London,MET etc.etc.etc... tantissime volte.
1 il suo Florestan era inascoltabile e di più lo stesso Kaufmann è considerato dai critici e saccenti il migliore Florestan del mondo?!...
à Garnier era così,durante 4 recita una delusione totale!
2 il suo Rodolfo non era Rodolfo,era una mistura fra una voce ingolata e un gusto interpretativo inesistente,proprio come era il suo registro acuto.
etc.etc.etc....
dai è meglio di non sprecare il tuo tempo prezioso.
amico,spiegami ti prego come un cantante lirico chi canta con una tecnica assurda personalizzata,con una voce poco bella ingolata priva di poesia, e un registro acuto compromesso può essere considerato ''the best''?
dai spiegami questo ''fenomeno'' perché io il vecchio baritono non capisco più nulla.
come ragionate voi giovani?
è il nome che fa la voce,o è la voce che fa il nome?
poi è ovvio che Kaufmann fa parte dei cantanti eletti...
nel 2015 Kaufmann non è lo stesso tenore di 10 anni fa ma non devi dimenticare che oggi questo ''giovane'' tenore ha 47 anni,cioè à questa età una grande parte dei miei amici tenori andavano in pensione per il rispetto della professione...
tu trovi normale il fatto che ''the best of all'' come hai detto tu non arriva di cantare uno si naturale e ancora meno uno do naturale in un modo decente?...
quanti anni dobbiamo aspettare ancora per sentire il signor Kaufmann di interpretate il repertorio italiano in un modo decente?
quanti?
10?
20?
30?....
sono troppo vecchio e stanco per aspettare...
ciao amico.
ps.
e lo stesso se Lucic à chi non sono un fan accanito non arriva di cantare uno sol naturale o uno la bemolle acuto e di essere considerarlo il migliore baritono del mondo!...
o tempora o mores.
@carmen3642
Estão maravilhosos nessa ópera!!! Os dois se complementam! Em voz e em interpretação!!!Wonderful!!!
@michg8969
Gorgeous voice and musicality, sexy good looks, amazing presence... A legend for our times!
@Hanako-sx3pr
I never get tired of JK as DesGrieux! I've played my DVD numerous times but it's still good. I can't think of anyone else in the role. Opolais was pretty good as Manon, too. They had a very good chemistry.
@MrJorgeseijo
What a powerful and beautiful voice!
@nicolehourcade
In Puccini’s Manon, the role is tailor made for him and his voice🙌✨👏
@potusumanbibingka
Gigli's rolling in his grave.
@IsaiahFeken
At the 1:27 mark he almost says "Manon Lescaut mi chiamo", but catches himself and says the right lyrics. You can hear him start the M, but he changes over without missing a beat, literally. Wonderful performance, as always.
@MichaelTheTenor
Isaiah Feken Bravo ,Sherlock!
@karolanagel8644
Yes! You're right! For me he is the best Des Grieux!
@user-qq4wr8jh7d
Isaiah Feken he is great