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Dec 2, 2019 · Some heroines represented in Puccini’s operas' are archetypal women—the Idealized Woman, the Femme Fatale, and the Progressive Woman—constructed in publications and discourses during the late...
As a more thorough case study, we selected three Puccini feminine heroines for each category: Mimì from La bohème as the sentimental heroine; Turandot from the opera bearing the same name, as the femme fatale; from La fanciulla del West, Minnie is the role embodying the traits of the modern heroine.
Puccini’s heroines are dynamic and multifaceted and often cannot be fully encapsulated by a single category. Rather than uphold a limiting and false typology, I introduce a different method that accommodates the inclusion of all Puccini’s heroines to analyze and understand them more fully.
- Shinobu Yoshida
- 2011
The first world premiere ever produced by the Metropolitan Opera took place on December 10, 1910. The opera was Giacomo Puccini’s La Fanciulla del West, based on The Girl of the Golden West by American playwright David Belasco, which Puccini saw on Broadway when he visited New York in 1907.
This analytical process will help revise the former understanding of Puccini as a composer of limited skills in creating female characters, who depicts stereotypical representations of women in...
- Shinobu Yoshida
The dominance of the “Puccini heroine” in musicological literature distorts our understanding of Puccini’s operas and, in turn, our view of Puccini as a composer. I identify three distinct character types in Puccini’s operas: the Sentimental Heroine, the Femme Fatale, and the New Woman. These groupings are based on female typologies
Feb 17, 2004 · A century ago, an abandoned young woman took the stage at La Scala in Milan, Italy, and the world met Madame Butterfly, Giacomo Puccini's most famous opera heroine.
