Remo Nannetti | The University Of Glasgow (original) (raw)

Doctoral Thesis by Remo Nannetti

Part One; Verismo in ltalian Opera: A Historical Perspective, provides an overview of Italian ope... more Part One; Verismo in ltalian Opera: A Historical Perspective, provides an overview of Italian operatic activity between the years 1890 and 1930 inclusive and is subdivided into four chapters which follow a roughly chronological sequence.

Chapter One, Cavalleria and the Preceding Decade, covers the period 1880 to 1890 and describes the fortunes of the two principal music publishers, Ricordi and Sonzogno. The first and second Sonzogno competitions are outlined in detail together with their importance in stimulating interest within the ranks of the younger Italian composers, leading eventually to the appearance of Pietro Mascagni’s pioneering work, Cavalleria rusticana. Contemporary critical reaction to the opera is chronicled and the reasons for its success fully analysed (two interesting precursors, Mariska and Mala Pasqua! are also described).

Chapter Two, Towards a Definition of verismo, shows the extent of the gulf between literary and operatic realism and examines contemporary attitudes to the question. The lack of any artistic manifesto for the movement is attributed to the unwillingness or even inability of its main practitioners (both composers and librettists) to formulate one, despite isolated attempts such as the Pagliacci prologue. Ultimately any definition must take into account the evidence of the libretti themselves together with the influence of contemporary literary trends and the artistic proclivities of individual librettists and the remainder of the chapter examines these factors in some detail, arriving at a final profile of a typical verista opera of the Cavalleria mould to which we may apply the generic term verismo puro.

Chapter Three, Growth and Consolidation: 1890-96, demonstrates the extent to which Sonzogno capitalized on the immense success of Cavalleria and chronicles the methods used to promote verismo puro as a viable operatic commodity. A chronological profile of the principal composers and works of the giovane scuola is accompanied by an account of the Ricordi-Sonzogno rivalry and the chapter concludes with an examination of the various factors which led to a temporary abatement in verismo puro opera production.

Chapter Four, Diversification and Decline: 1897-1920, describes how verismo puro, despite being fragmented into a series of closely allied genres (each of which is examined and commented upon), enjoyed several revivals in the first two decades of the twentieth century, none of which could arrest the downward trend in the fortunes of Casa Sonzogno. The eventual demise of the movement (circa 1918) is therefore due as much to insufficient editorial promotion as to the changing tastes of post-war Italian. audiences.

Part Two, Verismo Puro: A Structural Analysis, outlines in four chapters the basic framework of a typical libretto of the genre. The introduction presents a cross-section of twelve works which will be extensively analysed and commented upon in the ensuing discussion, giving reasons for their choice together with short plot summaries.

Chapter One, Character Patterns, shows how the prevailing ethos of verismo puro can be interpreted in a Durkheimian light and isolates three main character-types: the Rebel, the Traditionalist and the Victim, each of which is examined both individually and collectively within the context of the sample operas. The concept of a "central core" consisting of these three figures is introduced and a model of dramatic development proposed in which a tripartite progression from Characters through Contracts to Conflicts provides the mainspring of the on-stage action (expressed otherwise, the “central core" of Rebel-Traditionalist-Victim is held together by a complex web of contractual obligations which, when broken, form the basis for immediate conflict).

Chapter Two, Contractual Patterns, examines the various kinds of agreements made between the Rebel, Traditionalist and Victim and classifies them under two main headings: Moral and Legal Obligations (these are once again defined in Durkheimian terms). The labels Primary and Secondary are then used to describe the narrative importance of such contractual obligations (broadly speaking Primaries occur on-stage, Secondaries off-stage). Three phases in contract development are isolated: lnitiations, Breaks and Reinforcements, with each permutation (e.g. Primary Contract Reinforcements of the Moral variety) being fully analysed with reference to the sample operas.

Chapter Three, Conflict Patterns, demonstrates how the breaking of contractual obligations eventually leads to acts of violence which both expiate the crime committed and restore social equilibrium. Three types of conflict are described (Mental, Verbal and Physical); these form various Primary and Secondary combinations which are then annotated and documented. One major conclusion arrived at concerns the relative importance of violence in verismo puro, which is shown to have been grossly exaggerated by previous commentators.

Chapter Four, Dramatic Structure, brings together the constituent elements of the genre (namely Characters, Contracts and Conflicts) and shows how these coalesce into one dramatic entity within the libretto. A linear approach is adopted; the sample works are first analysed following the traditional Exposition-Development-Climax model which is further refined by the addition of what are termed Subsidiary Forces (Catalysts, Stabilizers, Divine, Societal / Environmental, Mental and Miscellaneous Forces; these are given either a Positive or Negative polarity depending on whether they decrease or increase tension within the libretto). Each sample opera is now graphically depicted as a series of interactive structural devices whose cumulative dramatic effect can be precisely measured. The outcome of such an analysis is to show a remarkable degree of similarity in both narrative techniques and dramatic intensity between otherwise dissimilar works.

(NB Part Three is currently being revised and will appear in Academia once this revision is completed)

Part Three, Italian Opera Production, 1890-1920: A Statistical Survey contains details of all performed and unperformed Italian operas (i.e. those set to original Italian libretti by both Italian and foreign composers and librettists either staged or completed during the period 1 January 1890 to 31 December 1920 (almost 900 works in all). Data has been tabulated by computer under the following headings (full details of each are to be found in Part Three, together with a more extensive summary of the overall aims of the volume):

Section One: Master Catalogue

Section Two: Composer Catalogue

Section Three: Librettist Catalogue

Section Four: Source Catalogue

Section Five: Genre Catalogue

Section Six: General Chronology

Section Seven: Act Analysis

Section Eight: Statistical Analysis

Two further sections list a general bibliography for the entire thesis together with technical information on the methods used to compile Part Three.

Papers by Remo Nannetti

This resource contains a wide variety of images pertaining to the Italian composer Pietro Mascagn... more This resource contains a wide variety of images pertaining to the Italian composer Pietro Mascagni (1863-1945) and his operas, all from my own private collection of originals, which I have amassed over the course of the last twenty years. These include photographs, newspaper and magazine cuttings, letters written by the composer and other ephemera.

Please do not hesitate to contact me should you require extra information as well as higher-quality scans of anything that might interest you.

This resource contains a wide variety of images pertaining to the Italian composer Ruggero Leonca... more This resource contains a wide variety of images pertaining to the Italian composer Ruggero Leoncavallo (1857-1919) and his operas, all from my own private collection of originals, which I have amassed over the course of the last twenty years.These include photographs, newspaper and magazine cuttings, letters written by the composer and other ephemera.

Please do not hesitate to contact me should you require extra information as well as higher-quality scans of anything that might interest you.

This file shows the front covers of 511 different published libretti for both premiered and unpro... more This file shows the front covers of 511 different published libretti for both premiered and unproduced Italian operas of the period 1890-1920. The libretti are arranged by name and labelled with year of publication and composer. A wide range of publishers is represented (e.g. Ricordi, Edoardo Sonzogno, Lorenzo Sonzogno, Pigna, Tedeschi and many others). The covers are in many cases notable for their distinctive art work.

Renaissance and Other Studies, 1988

This article gives an overview of the various opera and libretto competitions held by the Milanes... more This article gives an overview of the various opera and libretto competitions held by the Milanese publisher Edoardo Sonzogno and their impact on contemporary Italian opera production. The present version is a greatly-expanded revision of the original essay published in "Renaissance and other Studies - Essays presented to Peter M. Brown" (University of Glasgow, 1988).

The Record Collector, 2018

This article was published in the UK journal "The Record Collector" in December 2018 and examines... more This article was published in the UK journal "The Record Collector" in December 2018 and examines the relationships between Pietro Mascagni and the various singers with whom he came into contact during his lifetime.

The Record Collector, 2016

This article was published in the UK journal "The Record Collector" in March 2016 and examines th... more This article was published in the UK journal "The Record Collector" in March 2016 and examines the relationships between Ruggero Leoncavallo and the various singers with whom he came into contact during his lifetime.

Book Reviews by Remo Nannetti

The Record Collector, 2023

This is my review of "Enrico Caruso nel centenario della morte (1921-2021)", edited by Jean-Pierr... more This is my review of "Enrico Caruso nel centenario della morte (1921-2021)", edited by Jean-Pierre Mouchon, Andrea Lanzola & Roberto Anadón Mamés (Rugginenti, 2023, ISBN 887-66-5692-8), as published in the British periodical "The Record Collector" (June 2023).

The Record Collector, 2022

This is a review, written by myself, of the autobiography of the famous Sardinian tenor Bernardo ... more This is a review, written by myself, of the autobiography of the famous Sardinian tenor Bernardo De Muro (1881-1955), edited by Francesco Zimei and published in the British periodical The Record Collector.

The Record Collector, 2017

This is a review , written by myself, of a biography of the famous Italian baritone by Maurizio T... more This is a review , written by myself, of a biography of the famous Italian baritone by Maurizio Tiberi.

The Record Collector, 2017

This is a review, written by myself, of a biography of the famous Italian soprano by Roberta Pag... more This is a review, written by myself, of a biography of the famous Italian soprano by Roberta Paganelli.

Translations by Remo Nannetti

The Record Collector, 2023

I recently translated this article by Giorgio Feliciotti on the great Italian baritone Carlo Gale... more I recently translated this article by Giorgio Feliciotti on the great Italian baritone Carlo Galeffi for the British periodical "The Record Collector" (https://therecordcollector.org/).

The Record Collector, 2020

I recently translated this article by Roberta Paganelli on the great Italian bass Ezio Pinza for ... more I recently translated this article by Roberta Paganelli on the great Italian bass Ezio Pinza for the British periodical "The Record Collector" (https://therecordcollector.org/).

The Record Collector, 2021

I recently translated this article by Giorgio Feliciotti on the great Italian soprano Giannina Ar... more I recently translated this article by Giorgio Feliciotti on the great Italian soprano Giannina Arangi Lombardi for the British periodical "The Record Collector" (https://therecordcollector.org/).

The Record Collector, 2020

Translated by Remo Nannetti. The aim of the present article is to raise awareness of the artistic... more Translated by Remo Nannetti. The aim of the present article is to raise awareness of the artistic career of soprano Lina Bruna Rasa by providing a comprehensive overview of the key episodes in her life, along with her various recordings and live performances. She was, undoubtedly, one of the most admired sopranos of the years 1925-1940 yet today, unfortunately, is almost forgotten. The usual constraints of time and space permit only a short, yet concise biography which will limit itself to the facts of her birth, her initial studies and subsequent professional development. This is followed by a chronology of her performances and a listing of her 78 rpm recordings, some of which have been dubbed to LP and CD.

Part One; Verismo in ltalian Opera: A Historical Perspective, provides an overview of Italian ope... more Part One; Verismo in ltalian Opera: A Historical Perspective, provides an overview of Italian operatic activity between the years 1890 and 1930 inclusive and is subdivided into four chapters which follow a roughly chronological sequence.

Chapter One, Cavalleria and the Preceding Decade, covers the period 1880 to 1890 and describes the fortunes of the two principal music publishers, Ricordi and Sonzogno. The first and second Sonzogno competitions are outlined in detail together with their importance in stimulating interest within the ranks of the younger Italian composers, leading eventually to the appearance of Pietro Mascagni’s pioneering work, Cavalleria rusticana. Contemporary critical reaction to the opera is chronicled and the reasons for its success fully analysed (two interesting precursors, Mariska and Mala Pasqua! are also described).

Chapter Two, Towards a Definition of verismo, shows the extent of the gulf between literary and operatic realism and examines contemporary attitudes to the question. The lack of any artistic manifesto for the movement is attributed to the unwillingness or even inability of its main practitioners (both composers and librettists) to formulate one, despite isolated attempts such as the Pagliacci prologue. Ultimately any definition must take into account the evidence of the libretti themselves together with the influence of contemporary literary trends and the artistic proclivities of individual librettists and the remainder of the chapter examines these factors in some detail, arriving at a final profile of a typical verista opera of the Cavalleria mould to which we may apply the generic term verismo puro.

Chapter Three, Growth and Consolidation: 1890-96, demonstrates the extent to which Sonzogno capitalized on the immense success of Cavalleria and chronicles the methods used to promote verismo puro as a viable operatic commodity. A chronological profile of the principal composers and works of the giovane scuola is accompanied by an account of the Ricordi-Sonzogno rivalry and the chapter concludes with an examination of the various factors which led to a temporary abatement in verismo puro opera production.

Chapter Four, Diversification and Decline: 1897-1920, describes how verismo puro, despite being fragmented into a series of closely allied genres (each of which is examined and commented upon), enjoyed several revivals in the first two decades of the twentieth century, none of which could arrest the downward trend in the fortunes of Casa Sonzogno. The eventual demise of the movement (circa 1918) is therefore due as much to insufficient editorial promotion as to the changing tastes of post-war Italian. audiences.

Part Two, Verismo Puro: A Structural Analysis, outlines in four chapters the basic framework of a typical libretto of the genre. The introduction presents a cross-section of twelve works which will be extensively analysed and commented upon in the ensuing discussion, giving reasons for their choice together with short plot summaries.

Chapter One, Character Patterns, shows how the prevailing ethos of verismo puro can be interpreted in a Durkheimian light and isolates three main character-types: the Rebel, the Traditionalist and the Victim, each of which is examined both individually and collectively within the context of the sample operas. The concept of a "central core" consisting of these three figures is introduced and a model of dramatic development proposed in which a tripartite progression from Characters through Contracts to Conflicts provides the mainspring of the on-stage action (expressed otherwise, the “central core" of Rebel-Traditionalist-Victim is held together by a complex web of contractual obligations which, when broken, form the basis for immediate conflict).

Chapter Two, Contractual Patterns, examines the various kinds of agreements made between the Rebel, Traditionalist and Victim and classifies them under two main headings: Moral and Legal Obligations (these are once again defined in Durkheimian terms). The labels Primary and Secondary are then used to describe the narrative importance of such contractual obligations (broadly speaking Primaries occur on-stage, Secondaries off-stage). Three phases in contract development are isolated: lnitiations, Breaks and Reinforcements, with each permutation (e.g. Primary Contract Reinforcements of the Moral variety) being fully analysed with reference to the sample operas.

Chapter Three, Conflict Patterns, demonstrates how the breaking of contractual obligations eventually leads to acts of violence which both expiate the crime committed and restore social equilibrium. Three types of conflict are described (Mental, Verbal and Physical); these form various Primary and Secondary combinations which are then annotated and documented. One major conclusion arrived at concerns the relative importance of violence in verismo puro, which is shown to have been grossly exaggerated by previous commentators.

Chapter Four, Dramatic Structure, brings together the constituent elements of the genre (namely Characters, Contracts and Conflicts) and shows how these coalesce into one dramatic entity within the libretto. A linear approach is adopted; the sample works are first analysed following the traditional Exposition-Development-Climax model which is further refined by the addition of what are termed Subsidiary Forces (Catalysts, Stabilizers, Divine, Societal / Environmental, Mental and Miscellaneous Forces; these are given either a Positive or Negative polarity depending on whether they decrease or increase tension within the libretto). Each sample opera is now graphically depicted as a series of interactive structural devices whose cumulative dramatic effect can be precisely measured. The outcome of such an analysis is to show a remarkable degree of similarity in both narrative techniques and dramatic intensity between otherwise dissimilar works.

(NB Part Three is currently being revised and will appear in Academia once this revision is completed)

Part Three, Italian Opera Production, 1890-1920: A Statistical Survey contains details of all performed and unperformed Italian operas (i.e. those set to original Italian libretti by both Italian and foreign composers and librettists either staged or completed during the period 1 January 1890 to 31 December 1920 (almost 900 works in all). Data has been tabulated by computer under the following headings (full details of each are to be found in Part Three, together with a more extensive summary of the overall aims of the volume):

Section One: Master Catalogue

Section Two: Composer Catalogue

Section Three: Librettist Catalogue

Section Four: Source Catalogue

Section Five: Genre Catalogue

Section Six: General Chronology

Section Seven: Act Analysis

Section Eight: Statistical Analysis

Two further sections list a general bibliography for the entire thesis together with technical information on the methods used to compile Part Three.

This resource contains a wide variety of images pertaining to the Italian composer Pietro Mascagn... more This resource contains a wide variety of images pertaining to the Italian composer Pietro Mascagni (1863-1945) and his operas, all from my own private collection of originals, which I have amassed over the course of the last twenty years. These include photographs, newspaper and magazine cuttings, letters written by the composer and other ephemera.

Please do not hesitate to contact me should you require extra information as well as higher-quality scans of anything that might interest you.

This resource contains a wide variety of images pertaining to the Italian composer Ruggero Leonca... more This resource contains a wide variety of images pertaining to the Italian composer Ruggero Leoncavallo (1857-1919) and his operas, all from my own private collection of originals, which I have amassed over the course of the last twenty years.These include photographs, newspaper and magazine cuttings, letters written by the composer and other ephemera.

Please do not hesitate to contact me should you require extra information as well as higher-quality scans of anything that might interest you.

This file shows the front covers of 511 different published libretti for both premiered and unpro... more This file shows the front covers of 511 different published libretti for both premiered and unproduced Italian operas of the period 1890-1920. The libretti are arranged by name and labelled with year of publication and composer. A wide range of publishers is represented (e.g. Ricordi, Edoardo Sonzogno, Lorenzo Sonzogno, Pigna, Tedeschi and many others). The covers are in many cases notable for their distinctive art work.

Renaissance and Other Studies, 1988

This article gives an overview of the various opera and libretto competitions held by the Milanes... more This article gives an overview of the various opera and libretto competitions held by the Milanese publisher Edoardo Sonzogno and their impact on contemporary Italian opera production. The present version is a greatly-expanded revision of the original essay published in "Renaissance and other Studies - Essays presented to Peter M. Brown" (University of Glasgow, 1988).

The Record Collector, 2018

This article was published in the UK journal "The Record Collector" in December 2018 and examines... more This article was published in the UK journal "The Record Collector" in December 2018 and examines the relationships between Pietro Mascagni and the various singers with whom he came into contact during his lifetime.

The Record Collector, 2016

This article was published in the UK journal "The Record Collector" in March 2016 and examines th... more This article was published in the UK journal "The Record Collector" in March 2016 and examines the relationships between Ruggero Leoncavallo and the various singers with whom he came into contact during his lifetime.

The Record Collector, 2023

This is my review of "Enrico Caruso nel centenario della morte (1921-2021)", edited by Jean-Pierr... more This is my review of "Enrico Caruso nel centenario della morte (1921-2021)", edited by Jean-Pierre Mouchon, Andrea Lanzola & Roberto Anadón Mamés (Rugginenti, 2023, ISBN 887-66-5692-8), as published in the British periodical "The Record Collector" (June 2023).

The Record Collector, 2022

This is a review, written by myself, of the autobiography of the famous Sardinian tenor Bernardo ... more This is a review, written by myself, of the autobiography of the famous Sardinian tenor Bernardo De Muro (1881-1955), edited by Francesco Zimei and published in the British periodical The Record Collector.

The Record Collector, 2017

This is a review , written by myself, of a biography of the famous Italian baritone by Maurizio T... more This is a review , written by myself, of a biography of the famous Italian baritone by Maurizio Tiberi.

The Record Collector, 2017

This is a review, written by myself, of a biography of the famous Italian soprano by Roberta Pag... more This is a review, written by myself, of a biography of the famous Italian soprano by Roberta Paganelli.

The Record Collector, 2023

I recently translated this article by Giorgio Feliciotti on the great Italian baritone Carlo Gale... more I recently translated this article by Giorgio Feliciotti on the great Italian baritone Carlo Galeffi for the British periodical "The Record Collector" (https://therecordcollector.org/).

The Record Collector, 2020

I recently translated this article by Roberta Paganelli on the great Italian bass Ezio Pinza for ... more I recently translated this article by Roberta Paganelli on the great Italian bass Ezio Pinza for the British periodical "The Record Collector" (https://therecordcollector.org/).

The Record Collector, 2021

I recently translated this article by Giorgio Feliciotti on the great Italian soprano Giannina Ar... more I recently translated this article by Giorgio Feliciotti on the great Italian soprano Giannina Arangi Lombardi for the British periodical "The Record Collector" (https://therecordcollector.org/).

The Record Collector, 2020

Translated by Remo Nannetti. The aim of the present article is to raise awareness of the artistic... more Translated by Remo Nannetti. The aim of the present article is to raise awareness of the artistic career of soprano Lina Bruna Rasa by providing a comprehensive overview of the key episodes in her life, along with her various recordings and live performances. She was, undoubtedly, one of the most admired sopranos of the years 1925-1940 yet today, unfortunately, is almost forgotten. The usual constraints of time and space permit only a short, yet concise biography which will limit itself to the facts of her birth, her initial studies and subsequent professional development. This is followed by a chronology of her performances and a listing of her 78 rpm recordings, some of which have been dubbed to LP and CD.