Unfinished at Puccini's death in 1924, Turandot was not only his most ambitious work, but it became the last Italian opera to enter the international repertory. In this colorful study two renowned music scholars demonstrate that this work, despite the modern climate in which it was written, was a fitting finale for the centuries-old Great Tradition of Italian opera. Here they provide concrete instances of how a listener might encounter the dramatic and musical structures of Turandot in light of the Italian melodramma, and firmly establish Puccini's last work within the tradition of Rossini, Bellini, Donizetti, and Verdi. In a summary of the sounds, sights, and symbolism of Turandot, the authors touch on earlier treatments of the subject, outline the conception, birth, and reception of the work, and analyze its coordinated dramatic and musical design. Showing how the evolution of the libretto documents Puccini's reversion to large musical forms typical of the Great Tradition in the late nineteenth century, they give particular attention to his use of contrasting Romantic, modernist, and two kinds of orientalist coloration in the general musical structure. They suggest that Puccini's inability to complete the opera resulted mainly from inadequate dramatic buildup for Turandot's last-minute change of heart combined with an overly successful treatment of the secondary character.

"Set in Peking, this story concerns the princess Turandot, who will consent to marry only a man who can answer the three riddles she poses. The many suitors who fail her challenge forfeit their heads, but when Calaf arrives, he falls in love with Turandot, answers the riddles, and wins her heart....Varied and dramatic in composition, the polished illustrations in cool hues have an underlying sense of elegance and musicality." Booklist. Author's note.

Giacomo Puccini is one of the most frequently performed and best loved of all operatic composers. In Il Trittico, Turandot, and Puccini's Late Style, Andrew Davis takes on the subject of Puccini's last two works to better understand how the composer creates meaning through the juxtaposition of the conventional and the unfamiliar -- situating Puccini in past operatic traditions and modern European musical theater. Davis asserts that hearing Puccini's late works within the context of la solita forma allows listeners to interpret the composer's expressive strategies. He examines Puccini's compositional language, with insightful analyses of melody, orchestration, harmony, voice-leading, and rhythm and meter.

A Turandot filtered through a modern brain', wrote Puccini, describing his plans to rework the eighteenth-century fable by Carlo Gozzi. According to Mosco Carner, Puccini's last and supreme work is an advanced score which, with an orchestration that reflects contemporaries such as Richard Strauss and Stravinsky as well as genuine Chinese rhythms and harmonies, remains true to the Italian vocal tradition. The musicologist Juergen Maehder analyses of the ending, which Franco Alfano composed from Puccini's sketches. In addition, the great British soprano Dame Eva Turner recalls her experiences of singing the title role, of which she was a legendary interpreter.Contents: The Genesis of the Opera, Mosco Carner; The Score, Mosco Carner; Puccini's 'Turandot': A Fragment, Juergen Maehder; Carlo Gozzi's 'Turandot' and Its Transformation into Puccini's Libretto, John Black; Memories of Performing 'Turandot', Eva Turner; Turandot: Libretto by Giuseppe Adami and Renato Simoni; Turandot: English literal translation by William Weaver

A comprehensive guide to Puccini's TURANDOT, featuring Principal Characters in the opera, Brief Story Synopsis, Story Narrative with over 20 Music Highlight Examples, a complete, newly translated LIBRETTO with English/Italian side-by-side, selected Discography and Videography, Dictionary of Opera and Musical Terms, and an insightful and in depth Commentary and Analysis by Burton D. Fisher, noted opera author and lecturer.

There are a number of outstanding dissertations in folklore which warrant a wider readership and which belong in the library of any educational institution or individual with a serious interest in folklore. A few of these are in fact already well known to professional folklorists who may have bothered to send for them through inter-library loan or in more recent times purchased copies from University Microfilms International in Ann Arbor, Michigan. However, it should be noted that not all dissertations are available through UMI. The appearance for selected folklore dissertations and theses, both old and new, in the Folklore Library series will make it much easier for libraries and individuals to obtain these significant studies. Among the most important hitherto unpublished folklore dissertations are such works as motif and/or tale type indices, historic-geographic (comparative) in-depth studies of single folktales or ballads, and surveys of specialized folklore scholarship e.g., of a particular country or group. There are in addition valuable filed collections of folklore data to be found in dissertations. First published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.

Puccini's "Turandot" is well known for the aria named "Nesson dorma". The composer Puccini worked on this piece for years but at last died before completing it, leaving the piece to become his very last piece and an unfinished one. "Turandot" is the world's most dangerous but beautiful love story of Prince Calaf and Princess Turandot, who had to dedicate their lives to acquire love. 오페라 『노르마』는 작곡자 벨리니가 "무엇을 희생해서라도 이 노르마를 지키고 싶다"고 했을 정도로 아꼈던 작품입니다. 20세기에 들어서면서 저물어가던 벨칸토 오페라를 다시 부흥시켰을 뿐 아니라 최고 정점에 오르게 했다는 평을 받고 있습니다. 그만큼 오페라의 구성이나 멜로디의 아름다움, 오케스트레이션 등 어느 면 하나도 빠지지 않고 뛰어납니다. 자신을 떠난 남자를 위해 조국과 종교적 신념을 버리면서까지 선택한 노르마의 희생적인 사랑이야기, 오페라 『노르마』에 대해 알아보겠습니다.