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"Đakomo Pučini na sceni Narodnog pozorišta u Beogradu" Autor izložbe i kataloga Ksenija VUJOVIĆ, kustos Od 23.decembra 2002. do 13. februara 2003. godine |
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 Pučini u lovačkom odelu, 1910. |
Đakomo Pučini (puno ime Giacomo Antonio Domenico Michele Secondo Maria Puccini), je nesumnjivo najpoznatiji italijanski operski kompozitor posle Verdija. Često ga smatraju predstavnikom verizma, mada njegova dela samo delimično pripadaju tom stilu. Bio je izrazito talentovan za pozorište što se najbolje vidi u njegovom suptilnom osećaju da prepozna i upotrebi sve mogućnosti delovanja jednog pozorišnog čina u kreiranju svojih scenskih dela. Đakomo, peto dete u porodici Pučini, rođen je 22. decembra 1858, kako je i napisano u njegovoj krštenici, mada je sam Đakomo insistirao na datumu 23. decembar! Pošto je imao oko pet godina kada mu je otac umro, slabo se sećao oca. Uprkos ovoj činjenici, njegov prvi kontakt sa muzikom uspostavio je baš preko oca, sa kojim se igrao u crkvi za crkvenim orguljama. Mikele je bio orguljaš i kapelnik u crkvi San Martin u toskanskom gradiću Luka. Po tradiciji, Đakomo je trebalo da nasledi oca. Međutim, krenuo je sasvim drugim putem. Ceo svoj život posvetio je pozorištu a njegova dela ostavila su neizbrisiv trag u istoriji operskog stvaralaštva. |
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 Elvira Pučini |
Spolja gledano, Pučini je bio veoma jednostavan čovek. Bio je šarmantan, druželjubiv, pravi džentlmen. I kada je postao slavan, nije promenio svoj odnos prema prijateljima. Ali, istina je bila drugačija. Iako je spolja gledano Pučini bio veselog duha, istina je da je bio preosetljiv, neobično stidljiv i povredljiv do neverovatnih granica. Imao je zdravo i snažno telo, ali njegov duh je toliko bio ranjiv, da su ga povremene krize dovodile do toga da oseća fizički bol kao produkt duševnog bola. Njegova hipersenzitivnost dovela ga je do hipohondrije te se, neretko, žalio svojim prijateljima kako boluje od različitih bolesti koje ga sprečavaju da radi i koje ga čine neraspoloženim. U svojoj suštini, Pučini je bio introvertan, pa je u stvari, celoga života bio suštinski sam. Za razliku od većine svojih kolega kompozitora, Pučini je bio veoma otvoren prema drugim kompozitorima i njihovim dostignućima. Od starijih kompozitora naročito je cenio Betovena. Među operskim stvaraocima, Verdi mu je bio idol, mada je i Vagnera veoma cenio, naročito njegove Majstore pevače, Tristana i Parsifala. |
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 Četiri operska kompozitora - Maskanji, Leonkavalo, Pučini i Franketi |
Njega su cenili Debisi i Rihard Štraus, koji ga je smatrao najozbiljnijim rivalom u operskom stvaralaštvu, čak mu je zavideo na popularnosti, ali je i više puta izjavio da je Pučinijeva muzika šund. Za Stravinskijevo Posvećenje proleća, rekao je da je muzika koja je čudna, da je to delo ludog čoveka. Za Šenbergovog Pjero mesečar rekao je da je to muzika koju ne razume i koja je daleko od njega kao Mars od Zemlje, ali to nije rečeno u negativnom kontekstu. Dakle, bio je čovek širokih vidika što se može videti i iz tema njegovih opera. Takođe se iz njegovog dela može videti koliko je bio osetljiv i emotivan čovek i koliko su emocije direktno uticale i na njegov profesionalni i privatni život. Iako je Pučini poštovan i cenjen kao kompozitor dok je živeo i stvarao, ipak se nije moglo pretpostaviti da će njegova dela postati toliko popularna, važna i toliko često izvođena na svim operskim scenama sveta. Kvalitetna muzika, zanimljivi dramski sižei bliski svakome, likovi sa kojima publika lako može da se identifikuje, osnovne su karakteristike njegovih opera. |
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 Rukopis opere "Madam Baterflaj" |
Skoro ceo operski opus Pučinija izveden je na našoj sceni: Toska, Madam Baterflaj, Boemi, Turandot, Devojka sa Zapada, Đani Skiki i Manon Lesko. I sve ove opere su imale mnogo uspeha, ali su se samo Boemi, Toska i Madam Baterflaj kontinuirano izvodili sve ove godine. Veoma je važno da Pučinijeve opere budu na repertoaru neke operske kuće. To gotovo da znači neku vrstu prestiža, ali istovremeno i neophodnu osnovu na kojoj se uči i usavršava pevački zanat. Nema pevača koji bar jednom nije zapevao neku od sjajnih Pučinijevih uloga ili arija. Dakle, uz Verdijeva dela, dela ovog italijanskog kompozitora postala su neka vrsta pevačke azbuke, neophodnog muzičko-scenskog teksta kojim se mladi umetnici opismenjavaju a stariji, iskusniji, dokazuju u svojoj umetničkoj veštini. Počeci Beogradske opere vezuju se za Pučinijevo ime. Naime, poznato je da se za početak Beogradske opere uzima datum premijere Madam Baterflaj, 11. februara 1920. Međutim, stvar je nešto drugačija. Muzika je bila sastavni deo Narodnog pozorišta od trenutka kada je pozorište počelo sa radom, dakle od 1869, ali je takođe istina i to da je kontinuiran operski repertoar uspostavljen tek posle premijere Madam Baterflaj 11. februara 1920. I oni koji zastupaju mišljenje da je Beogradska opera počela sa radom mnogo ranije imaju argumente za takvo mišljenje, jer, zaista, mnoge operske predstave su prikazane kod nas pre ovog datuma. Međutim, argumentima raspolažu i oni koji se zalažu da se za početak opere uzme datum 11. februar 1920, zbog kontinuiranog rada koji je sledio posle ovog datuma. Međutim, prva Pučinijeva opera izvedena u celini na našoj operskoj sceni je Toska, 10. januara 1914. Od tada do danas, ova opera izvedena je oko 500 puta! Sledile su premijere Madam Baterflaj, 11. februar 1920, do danas izvedena oko 350 puta, Boemi, 16. juna 1920, do danas izvedena oko 430 puta, Turandot, 26. juna 1930, izvedena oko 50 puta, Devojka sa zapada, 13. oktobra 1932, izvedena oko 15 puta, Đani Skiki, 16. juna 1934, izvedena svega 5 puta i Manon Lesko, 25. marta 1967, izvedena desetak puta. |
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U tumačenju likova Pučinijevih opera na sceni Narodnog pozorišta u Beogradu, mogli smo videti najveća domaća i svetska operska imena kao što su Bahrija Nuri-Hadžić, Danica Mastilović, Josip Rijavec, Zinka Milanov-Kunc, Aleksandar Marinković, Radmila Bakočević, Radmila Smiljanić, Milka Stojanović, ali i Lejla Genčer, Tito Gobi, Grejs Bambri, Plasido Domingo, Đuzepe di Stefano i mnogi drugi. |
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 Pučini, 1904. |
Giacomo Puccini (full name Giacomo Antonio Domenico Michele Secondo Maria Puccini) is certainly the most famous Italian opera composer after Verdi. He is often considered as an exponent of verismo, though his works belong to this style only partially. His powerful talent for theatre is particularly emphasized in his subtle feeling to recognize and deploy all the possible influences of a theatre act in creating his opera works. Giacomo, the fifth child in Puccini family, was born on 22nd December 1858, as his birth certificate indicates, although the composer himself insisted on 23rd of December being his real birthday. Giacomo's memory of his father was vague, since his father died when the boy was five. In spite of this fact, it was the father who introduced the first contact with music in Giacomo's life by taking him to church and playing with him while playing pipe organ. Michele was an organist and a chaplain in St Martin's Church in Lucca, Toscana. Traditionally, Giacomo was supposed to follow his father and inherit his position. Nevertheless he chose completely different path. All his life was dedicated to theatre and his work left a permanent mark in the history of opera. |
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 Pučini, 1876. |
Puccini seemed as a very simple man. He was charming, friendly, a real gentleman. Even when he became famous he never changed the relationship with his friends. But the truth is different. Although Puccini's spirit was a merry one, he was an overly sensitive person, extremely shy and too easily hurt by tiniest things. He was a healthy and strong man, but his spirit was so vulnerable, that occasional crises made him feel physical pain caused by suffering of his soul. This hypersensitivity brought him to hypochondria, so often he complained to his close friends about suffering from different illnesses, which prevent him from working and make him feel bad. In the matter of fact, Puccini was an introverted person, and being such, he was mainly alone all his life. | ||
 Pučinijeve sestre |
In contrast to his fellow composers, Puccini was very open to other composers and their achievements. Among other older composers, he particularly admired Beethoven and among opera composers Verdi was his idol. He also had great respect for Wagner, especially for his Die Meistersinger von Nürnberg, Tristan und Isolde and Parsifal. | ||
 Pučinijev prvi automobil |
Puccini himself was highly respected by Debussy and Richard Strauss, the latter considered him as his greatest rival in opera writing and even envied him for his popularity. However, in public Strauss often called Puccini's music kitsch. About Stravinsky's The Rite of Spring Puccini said it was a weird music written by an insane man. About Schönberg's Pierrot lunaire he said he didn't understand it, adding that to him it was as distant as Mars is to Earth, but this sentence was not meant to be insulting. So, the fact that he was a very open-minded man is also proved by the plots of his operas. His work also shows how deeply sensitive he was and to what extent his emotions directly influenced both his professional and personal life. However, in spite the fact that during his life Puccini was a well respected and admired composer, it could not have been foreseen that his work would become so popular, important and so frequent in all opera stages worldwide. |
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 Rukopis opere "Manon Lesko" |
Music of high quality, interesting dramatic plots recognizable by everyone, characters that the audience can easily identify with, make the basic characteristic of Puccini's operas. Almost all Puccini's opera opus was performed at our stage: Tosca, Madame Butterfly, La Boheme, Turandot, La Fanciulla del West, Gianni Schicchi and Manon Lescaut. All these operas had great success, but only La Boheme, Tosca and Madame Butterfly were performed continually through all these years. It is very important that Puccini's operas are on repertoire of an opera house. It almost means a kind a prestige, but at the same time it makes a necessary basis to master and improve singing itself. There is no singer that hasn't had at least one of Puccini's roles or arias. So, besides Verdi's works, the works of this Italian composer became a kind of singers' alphabet, a necessary music and stage text that young singers use in the process of learning, and the older, more experienced singers, use as a proof of their artistic skills. |
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 Pučini i Madam Baterflaj |
The beginnings of Belgrade Opera are closely connected to Puccini. As a matter of fact, it is well known that the beginning of Belgrade Opera is the date if the opening night of Madame Butterfly, 11th of February 1920. But, the truth might be a bit different. The music was a part of the National Theatre from the very moment it was opened, namely 1869, but it is also truth that a continuous opera repertoire was set only after the opening night of Madame Butterfly, 11th of February 1920. But, the ones defending the theory of Belgrade Opera starting to work much earlier do have their points, because indeed many operas were shown even before this date. But, it is also an important argument on the side of those who consider the beginning of Belgrade Opera at 11th of February 1920, due to the fact that a continuous work followed only after the mentioned date. However, the first Puccini's opera that was performed on our stage in whole was Tosca, 10th of January 1914. Ever since it has been performed about 500 times! The premieres of Madame Butterfly followed on 11th of January 1920, performed about 350 times since the first time, La Boheme 16th of June 1920, performed about 430 times, Turandot 26th of June, performed about 50 times, La Fanciulla del West,13th of October 1932m performed about 15 times, Gianni Schicchi 16th of June 1934, performed only five times and Manon Lescaut, 25th of March 1967, performed about twenty times. |
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The greatest stars of domestic and international opera were playing the roles of Puccini's characters at the stage of our National Theatre, like Bachria Nuri-Chadzich, Danica Mastilovich, Josip Rijavec, Zinka Milanov-Kuntc, Alexander Marinkovich, Radmila Bakochevich, Radmila Smiljanich, Milka Stojanovich, as well as Leila Gentcher, Tito Gobi, Grace Bambry, Placido Domingo, Giuzeppe di Stefano and many others. With its strength and beauty, music and drama qualities, Puccini's operas made an indelible mark not only in music and opera history, but also in history of Belgrade Opera. The premieres of Puccini's operas on our stage were not much late compared to international premieres; the quality of numerous performances was also not much behind. Without La Boheme, Tosca and Madame Butterfly an opera season of any eminent opera house would be impossible, as well as for Belgrade Opera. Is there greater honour for a composer than the fact that his work is irreplaceable? I don't think so. The following is for sure - Giacomo Puccini indeed deserves such an honour. |
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| Revised: 23 Mar 2006 |
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