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374:. The opera was withdrawn after only two performances; and the failure of this work, even though the composer attempted a later revision, was enough to drive him to abandon the operatic stage for good. There are however indications of some later unfulfilled operatic projects, which survive as parts or sketches of libretti, such as
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on 24 September 1892, alongside other works from the firm of
Sonzogno. The composer never showed much sympathy for this work, the subject of which he reluctantly agreed to set to music in order to please Sonzogno and to avoid throwing away a rare professional opportunity. The loss of the orchestral
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was a failure which Cilea, being convinced of the work's value, tried repeatedly to remedy, making drastic and detailed alterations throughout the remainder of his life. In the score which we hear today, it is hard to find a single bar which is completely unchanged from the original. The revised
354:
an effort which critic
Michael Henstock (in his biography of de Lucia) declares is hardly inspired by de Lucia's fine performances. According to Henstock, even given the crude recording techniques of the day Cilea's piano playing seems square and lifeless.
326:
is the opera of Cilea which is best known to international audiences today, and it reveals the spontaneity of a melodic style drawn from the
Neapolitan school combined with harmonic and tonal shading influenced by French composers such as
179:, Cilea was the son of a prominent lawyer and originally intended to follow his father into a law career. He gave an early indication of an aptitude for music when at the age of four he heard a performance of
432:
In his last years Cilea's eyesight failed but his mind was active enough to encourage and work with singers of the day. Among his last musical activities was his championship of the soprano
903:. Atti del Convegno Internazionale di Studi (Palmi-Reggio Calabria, 20–22 ottobre 2000), edited by Gaetano Pitarresi (Reggio Calabria: Edizioni del Conservatorio di Musica "F. Cilea", 2002)
346:
and made another recording with the baritone De Luca at the same time (November 1902). In 1904, for the
Gramophone (and Typewriter Company), he accompanied the tenor Fernando de Lucia in
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opera was however still not successful, apart from a brief period in the 1930s when it benefited from political support which the composer established through personal contact with
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There are a number of extant examples documenting Cilea's modest skills as a performer. At the piano Cilea accompanied Caruso in a recording of a part of the duet
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score has prevented the modern revival of this work, whose fresh and catchy melodies can nevertheless be discovered in the transcription for voice and piano.
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Again at the Teatro Lirico in Milan, on 6 November 1902 and again with Enrico Caruso, the composer won an enthusiastic reception for
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216:(1787–1865). This "melodramma idilico" was performed in the college theatre, and it attracted the attention of the publishers
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Nevertheless, he continued to compose chamber music, and some orchestral music. In 1913 he produced a
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In 1889, for his final examination at the end of his course of study, he submitted his opera
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in
Florence, and after performances in a number of Italian theatres, it arrived at the
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which was to keep alive the memory of the opera even to the present day. In reality
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edited by
Gaetano Pitarresi (Reggio Calabria: Laruffa, 1994), (reprinted 1999).
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L'unico raggio di sole. "La Tilda" di Cilea agli albori del verismo
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and was greatly affected by it. He was sent to study music at the
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were renamed in his memory, and his native town of Palmi built a
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413:, which was first performed at the Teatro Carlo Felice in
370:, again with a libretto by Colautti, based on a play by
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had a successful first performance in April 1892 at the
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in his memory, decorated with scenes from the myth of
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436:(1910–2014), whose performances in the title role of
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Sonata for cello and piano in D major, Op. 38 (1888)
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Lamento di
Federico: È la solita storia del pastore
56:. Unsourced material may be challenged and removed.
908:Composizioni vocali da camera/Vocal Chamber Music
882:La dolcissima effigie. Studi su Francesco Cilea
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362:in Milan on 15 April 1907 under the baton of
235:opera in three short acts along the lines of
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927:L'Arlesiana di Cilea dall'ipotesto all'opera
802:, Cilea himself used the accented spelling
796:To prevent his name being mispronounced as
227:Sonzogno also then commissioned from Cilea
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208:which was adapted from the old French play
1163:Academic staff of the Palermo Conservatory
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559:Symphonic Poem in honour of Giuseppe Verdi
264:On 27 November 1897, the Teatro Lirico in
214:Anne-Honoré-Joseph Duveyrier de Mélésville
116:Learn how and when to remove this message
350:from Adriana Lecouvreur and in the song
268:saw the première of Cilea's third opera
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284:, who performed with great success the
522:(April 1907 Teatro alla Scala, Milan)
487:(April 1892 Teatro Pagliano, Florence)
1188:Members of the Royal Academy of Italy
888:Francesco Cilea. Documenti e immagini
854:WQXR Classical Music Scene: Entry in
806:, as can be seen from his autographs.
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640:Serenata (Mormorante di tenero desio)
495:(November 1897 Teatro Lirico, Milan)
440:he especially admired. Cilea died in
191:Conservatorio di San Pietro a Majella
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514:(November 1902 Teatro Lirico, Milan)
54:adding citations to reliable sources
1158:20th-century Italian male musicians
1143:19th-century Italian male musicians
498:first revision (October 1898 Milan)
310:, a 4-act opera with a libretto by
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958:. Gerald Duckworth & Co Ltd.
754:Tre vocalizzi da concerto (1928)
735:(I version 1934; II version 1943)
729:Salute, o genti umane affaticate!
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358:Cilea's last opera, premièred at
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41:needs additional citations for
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901:Francesco Cilea e il suo tempo
419:Conservatorio Vincenzo Bellini
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719:Ninnananna popolare savoiarda
145:[franˈtʃeskotʃiˈlɛːa]
132:Francesco Cilea, c. 1910
1183:Italian male opera composers
863:Raffaello De Rensis (2016).
16:Italian composer (1866–1950)
1168:Italian classical composers
943:, Treviso, Diastema, 2023,
741:, text by Anonymous, (1943)
210:Catherine, ou La Croix d'or
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1178:Italian Romantic composers
954:Henstock, Michael (1990).
338:Cilea's mausoleum in Palmi
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622:Serenata (L'aere imbruna)
318:and based upon a play by
856:Grove Concise Dictionary
837:19 December 2008 at the
749:Wisdom of Sirach - Bible
699:Vita breve (Una lettera)
366:, was the 3-act tragedy
1173:Italian opera composers
739:Dolce amor di Povertade
396:Il matrimonio selvaggio
272:, based on the play by
929:, Roma, Aracne, 2018,
721:, text transcribed by
649:Non ti voglio amar?...
501:second revision (1910)
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314:, set in 18th century
141:Italian pronunciation:
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21:Cilea (disambiguation)
867:. Rome: NeoClassica.
768:Tre vocalizzi (1930)
571:Waltz in D flat major
504:third revision (1937)
376:Il ritorno dell'amore
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276:, with a libretto by
244:. With a libretto by
204:, with a libretto by
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241:Cavalleria rusticana
50:improve this article
19:For other uses, see
922: 9790041413846
831:one from circa 1902
1027:Adriana Lecouvreur
939:Giancosimo Russo,
925:Giancosimo Russo,
912:Giuseppe Filianoti
799:[ˈtʃiːlea]
745:Statuit ei Dominus
511:Adriana Lecouvreur
454:Reggio di Calabria
438:Adriana Lecouvreur
425:, and then at his
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324:Adriana Lecouvreur
308:Adriana Lecouvreur
177:Reggio di Calabria
160:Adriana Lecouvreur
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1193:People from Palmi
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956:Fernando de Lucia
949:979-12-80270-28-3
935:978-88-255-1765-1
906:Francesco Cilea:
874:978-88-9374-007-4
723:Giorgio Nataletti
616:Enrico Golisciani
392:La rosa di Pompei
348:L'Anima ho stanca
258:Vienna Exhibition
206:Enrico Golisciani
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67: –
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39:This article
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659:Alba novella
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631:Il mio canto
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612:Bionda larva
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48:Please help
43:verification
40:
1133:1950 deaths
1128:1866 births
1019:L'arlesiana
705:(1921–1923)
669:Lontananza!
532:Other works
492:L'Arlesiana
411:Sem Benelli
352:Lontananza,
296:L'Arlesiana
270:L'Arlesiana
224:, in 1892.
154:L'arlesiana
1122:Categories
814:References
760:II. Dolore
757:I. Gaiezza
731:, text by
711:, text by
709:Maria-Mare
701:, text by
691:, text by
681:, text by
671:, text by
661:, text by
651:, text by
642:, text by
633:, text by
624:, text by
614:, text by
602:Litania II
584:, text by
549:L'arcolaio
427:alma mater
237:Mascagni's
76:newspapers
1100:Biography
918:, 2016),
592:Litania I
565:(A major)
556:(F major)
458:mausoleum
301:Mussolini
212:by Baron
167:Biography
914:(Milano:
835:Archived
683:A. Villa
540:, Op. 41
485:La Tilda
360:La Scala
329:Massenet
250:La Tilda
229:La Tilda
222:Florence
218:Sonzogno
171:Born in
106:May 2023
1050:Portals
916:Ricordi
679:Mazurka
582:Romanza
563:Romanza
554:Melodia
462:Orpheus
450:Liguria
442:Varazze
423:Palermo
292:romance
233:verismo
90:scholar
1038:(1907)
1035:Gloria
1030:(1902)
1022:(1897)
1011:Operas
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933:
894:
871:
858:, 1988
751:(1943)
725:(1934)
715:(1933)
695:(1921)
685:(1904)
665:(1897)
655:(1890)
644:P. Joe
618:(1888)
608:(1887)
598:(1887)
588:(1883)
519:Gloria
473:Operas
446:Savona
390:, and
384:Malena
368:Gloria
290:, the
195:Naples
150:operas
92:
85:
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63:
1112:Music
1088:Italy
1076:Opera
804:Cilèa
784:Notes
468:Works
415:Genoa
316:Paris
266:Milan
186:Norma
175:near
173:Palmi
97:JSTOR
83:books
960:ISBN
945:ISBN
931:ISBN
920:ISMN
892:ISBN
869:ISBN
829:and
479:Gina
231:, a
202:Gina
157:and
69:news
448:in
421:in
386:by
378:by
193:in
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