![]() In his eyes, it should become the all-important culmination of the opera. In the four years before his death, Puccini was indecisive over the number of acts and specifically obsessed over the final love duet. If Puccini was always known as meticulous, the writing of Turandot was particularly strenuous. Antonio Bazzini wrote Turanda in 1867, Ferruccio Busoni Turandot in 1917 only a few years before Puccini began his version. What a detour! Puccini was not the first composer to take an interest in this colourful tale. Puccini discovered the tale through Schiller’s play, which derived from the German version of an Italian commedia dell'arte by Carlo Gozzi, who in turn took the story from the de la Croix. ![]() In the case of Turandot, however, the origin seems to lie in a 12th-century story by the Azerbaijani poet and philosopher Nizami Ganjavi, ‘Seven Beauties’. As many of these stories have only been found in de la Croix’s version, numerous scholars wondered whether he had made them up himself. The story of Turandot originated in a French fairy tale collection by François Pétis de la Croix called Les mille et un jours (‘The thousand and one days’, not to be confused with the more famous One thousand and one nights). ![]()
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