Parisina (Mascagni)

Mascagni (b. Livorno, 7 Dec 1863; d. Rome, 2 Aug 1945) achieved success early on in his compositional life with one of his most famous operas, Cavalleria Rusticana. With this opera he overcame at least 70 rival composers to win the Sonzogno competition in 1888. The ensuing fame encouraged a prolific career remembered for the vibrant melodies first heard in Cavalleria. Indeed, Mascagni was also well known abroad. In England he conducted his own operas in the Royal Opera House's 1892 Italian season n London.

He also embarked on a tour of North America in 1902 returning the following year. His prolific compositional career seemed to exhaust his inventiveness a little and several of his premieres were widely criticised by the public and critics alike. Most notably Le maschere which was premiered simultaneously in seven theatres across Italy, the only success being in Rome where Mascagni himself was conducting.

In a bid to regain his previous success Mascagni produced Parisina with the help of the librettist Gabriele D’Annunzio who adapted Byron's 1816 poem of the same title. The composer was drawn to the libretto, which was initially meant to be the second part of a trilogy. The first was Francesca da Rimini and the third was to be Sigismondo, which was never even started. The powerful tragic atmosphere and the brilliance of D’Annunzio to create convincing characters was what appealed to Mascagni.

Within a month of D’Annunzio finishing the libretto Mascagni had begun composing the opera, such was his enthusiasm for the project. His only expressed concern was that of the length of the work. He adored the "transparent simplicity" of the "ringing, melodious verses" which "set his mind on fire" and made his "pulses throb." The creative juices were somewhat stifled when his wife found out about an affair with Anna Lolli and forced him to leave. On his return though he made great progress and finished the opera at the beginning of February 1913 (just 11 months after the libretto was completed). The roles created in Parisina were very demanding both vocally and emotionally. The sweeping phrases are dramatic and accompanied often by equally emotive accompaniment in the orchestra. The swift changes of mood and character are effective and the declamato-arioso style is achieved with brilliance.

Mascagni's fear of the length of the opera was well founded. The opera, in four acts, lasted 3 hours and 40 minutes, which was far too long for the Italian public and critics. The length was condemned by Giovanni Pozza, the most influential Italian critic, in his comment on the first performance. After mentioning the numerous qualities in the work he wrote:

Inordinate length: if this flaw is not set to rights, it could only weigh down on Parisina’s sound. Independent of any judgement on the intrinsic value of the new opera, the Maestro’s most fanatic advocate must express one hope: cut, cut, cut!

This last statement has subsequently been indefinitely linked with Parisina, which is rarely revived but when it is, the fourth act, which (according to Stivender and others) contains the best music, is generally restored.