Giuseppe Giacosa – poet and playwright

Writer produced polished libretti for composer Giacomo Puccini

A magazine illustration of Giuseppe
Giacosa in his studio in Milan

One of Italy’s most prominent 19th century playwrights, Giuseppe Giacosa, was born on this day in 1847 in Colleretto Parella, which is now called Colleretto Giacosa, around 40km (25 miles) north of Turin.  Along with his plays, he is remembered for his success as a librettist for the opera composer Giacomo Puccini.

Giacosa, who was the son of an attorney, obtained a law degree from the University of Turin and practised law for a while from his father’s office, while also writing plays.

But after his play Una partita a scacchi - A Game of Chess - was a success in 1871, Giacosa concentrated on writing for the stage. His plays were mainly set in Piemonte and had themes that addressed contemporary bourgeois values.

In 1885, Giacosa was appointed as professor of history and literature at the Academy of Fine Arts in Turin, but he would often go to stay in the town of Ivrea, which was near the village he was born in, and he would spend long periods writing. He enjoyed brief trips to southern Italy and Sicily, as well as visits to France and Germany, but he preferred to spend most of his time living in northern Italy.

Giacosa moved to Milan in 1888, where he was appointed director and lecturer at the Academy of Dramatic Arts and professor of dramatic literature at the Conservatorio Giuseppe Verdi, Milan’s college of music. While living in Milan he had the opportunity to hear many operas at La Scala and he became a close friend of the librettist and composer Arrigo Boito.

Having written a play in French, La dame de Challant, for the actress Sarah Bernhardt, Giacosa accompanied the actress on a tour of America with the play in 1891. He wrote an account of his journey, which took him to the Midwest of America and Toronto, in Impressioni d’America, which was published in Milan in 1899.

The Italian actress Eleonora Duse appeared in two premieres of plays by Giacosa, and in 1891 she took part in the premiere in Turin of La signora di Challant, the Italian version of his play for Sarah Bernhardt.

Giacosa became a close friend of Émile Zola and Giovanni Verga and turned towards naturalism in his writing and became the most important representative of verismo on the Italian stage.

A poster advertising an early production of Puccini's
La bohème, with Giacosa and Luigi Illica credited

Among his wide-ranging work, Giacosa wrote stories, verse dramas and about the history and people of his region, Piemonte, and, as a keen alpinist, he wrote about his wanderings among the mountains around the Aosta valley.

Giacosa’s drama Tristi Amori was a failure at its premiere in Rome in 1887, but Eleonora Duse turned it into a triumphant success when she performed in it a few months later in Turin. It is now considered one of his finest works, along with Come le foglie - Like Falling Leaves - a psychological  drama about people in crisis, which has been compared to Chekov’s Cherry Orchard.

The playwright wrote the final, polished version of the libretto for Puccini’s Manon Lescaut, which had been started by other libretto writers, Ruggero Leoncavallo, Marco Praga, Domenico Oliva, and Luigi Illica. He also wrote the libretti used by Puccini for La bohème, Tosca and Madame Butterfly, in collaboration with Illica. His contribution was to turn Illica’s plots and dialogue into polished verses.

Giacosa adapted his own play, Una partita a scacchi, for a one-act-opera for the composer Pietro Abba Comaglia.

In the last few years of his life, and right up to his death, Giacosa was director of the literary magazine, La lettura, which was published with Corriere dell Sera in Milan. He died at the age of just 58 in his home village of Colleretto Giacosa in 1906.

Although Giacosa is best known outside Italy for his libretti for Puccini, he was appreciated during his own lifetime as a playwright in Italy, as well as in Germany and Austria, where many of his plays were performed and he also gave lectures on the theatre.

Giacosa's drama, Tristi amori, has been adapted for the cinema twice. The first time was  by Giuseppe Sterni in 1917,  and later it was by Carmine Gallone in 1943. Gallone's version, which was also known by the English title, Sad Loves, starred Jules Berry, Gino Cervi, and Andrea Checchi. It was one of the last films produced at the Cinecittà studios in Rome before they were shut down toward the end of World War II.

The house in which Giuseppe Giacosa was born
is marked by a plaque on an outside wall

Travel tip:

Colleretto Parella, where Giuseppe Giacosa was born, is a village and municipality in Piemonte, located about 40km (25 miles) north of Turin. The comune changed its name to Colleretto Giacosa in honour of the playwright in 1953. The house in which Giacosa was born, at the junction of Via Provinciale and Via Giuseppe Giacosa, is marked with a plaque on the wall. The rolling hills and Alpine backdrop of the area heavily influenced his early works, and his collection of regional stories, Novelle e paesi valdostani, which celebrated the resilience of local mountaineers. The region of Piemonte is the second largest after Sicily. It borders France, Switzerland and the Italian regions of Lombardia, Liguria, Valle d’Aosta and a small part of Emilia-Romagna. Piemonte was acquired by Otto of Savoy in 1046 and its capital was established at Chambéry, which is now in France. The Savoy territory became the Duchy of Savoy in 1416 and the seat of the Duchy was moved to Turin in 1563 by Duke Emanuele Filiberto. After Victor Amadeus II became King of Sardinia in 1720, Piemonte became part of the Kingdom of Sardinia and Turin grew in importance as a European capital city. 

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The Castello d'Ivrea, built in the 14th
century, retains three of its four towers

Travel tip:

Ivrea, where Giuseppe Giacosa established himself for intensive periods of writing, is a town in the Piemonte region, about 50km (31 miles) north of Turin. It has a partially restored 14th century castle, with three of its original four towers still intact, and the ruins of a 1st century Roman theatre that would have been able to hold 10,000 spectators. The town’s cathedral, which originated from a church that was built on the same site in the 4th century, which itself had been built on the site of a pagan temple, was reconstructed in around 1000 AD in Romanesque style and, in 1785, rebuilt again in a Baroque style. The current neoclassical façade was added in the 19th century. Ivrea hosts an annual carnival before Easter, which includes the Battle of the Oranges, where teams of locals on foot throw oranges at teams riding in carts. In the 20th century, Ivrea gained international recognition after it became the headquarters of the Olivetti company, which was a pioneer in technological innovation and became well known for creating some of the first computers. 

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More reading:

Ferdinando Fontana, the journalist who was Puccini’s first librettist

Arrigo Boito, writer and patriot who fought for a free Venice

The brilliant actress Eleonora Duse

Also on this day:

1581: The birth of painter Domenichino 

1846: The birth of writer and journalist Edmondo De Amicis

1898: The birth of Prince Amedeo, Duke of Aosta

1928: The birth of anarchist Giuseppe Pinelli

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Ferdinando Fontana – journalist and playwright

Prolific writer produced the words for Puccini’s early operas 

Ferdinando Fontana (left), with Puccini
in a photograph taken in around 1885

The dramatist Ferdinando Fontana, who is remembered chiefly for being the writer of the libretti for the first two operas written by Giacomo Puccini, was born on this day in 1850 in Milan.

He became a journalist as a young man to help provide for his younger sisters, and while he was working for the newspaper Corriere di Milano he wrote two plays in Milanese dialect which were both successes.

Through his interest in the Scapigliatura artistic movement, Fontana became a versatile writer. The word scapigliato means ‘unkempt’ or ‘dishevelled’ and the movement was the equivalent of the French Bohemian idea. Fontana also produced poems, travel books, and articles for the Milanese daily newspaper Corriere della Sera.

After being introduced by the composer Amilcare Ponchielli to the young Giacomo Puccini, he agreed to write the libretti for his early operas Le Villi and Edgar.

Fontana had been forced to abandon his studies after the death of his mother and had to go to work to keep himself and his sisters. After having a series of menial jobs, he got a job as a proof reader for Corriere di Milano, where he first became involved with journalism and literature.

He travelled from New York to San Francisco with a journalist colleague and while he was in America he met the editor of an Italian language newspaper, to which he later contributed features.

Fontana wrote a libretto for an opera, Odio, that was being planned by Ponchielli but never actually composed, after which he wrote two libretti for the composer Alberto Franchetti.

Puccini was studying under Ponchielli at the Milan Conservatory at the time and the composer invited the young Puccini to stay at his villa, where he introduced him to Ferdinando Fontana.

The music and libretto for Le Villi,
Puccini's debut operatic work

The writer’s first libretto for Puccini was for Le Villi, Puccini’s first stage work, which was a big success after its premiere at Teatro Dal Verme in Milan in 1884.

Fontana went on to have a prolific writing output, and an article in 1886 in La Stampa recorded that at that time, the music for 13 libretti by Fontana were in the process of being composed as operas by 12 different composers.

It was while staying in an hotel in Caprino Bergamasco run by a fellow librettist that Fontana wrote the libretto for Puccini’s opera Edgar, which premiered in 1889. 

This, unfortunately, was not as successful as Le Villi. Puccini made several revisions but could not redeem the opera, which he eventually effectively disowned, although he blamed himself as much as Fontana.

The publisher Guilio Ricordi, who had commissioned a second opera from Puccini as a result of the success of his first, came under pressure to drop him after the disappointing reception for Edgar, which might have spelled the end of Puccini’s career. Happily, Ricordi stuck with him and was rewarded with Manon Lescaut, for which the libretto was written by Luigi Illica and Giuseppe Giacosa, which proved to be one of his most popular and enduring works. 

Fontana also translated foreign libretti for performances in Italy, including Franz Lehar’s Die lustige Witwe - The Merry Widow. 

Fontana was a committed socialist and took part in the demonstrations in Milan in 1889, which led to the massacre of protestors by troops led by General Fiorenzo Bava-Beccaris.

The massacre was part of a crackdown on Milanese citizens protesting about rising food prices, particularly bread, which had become so expensive due to wheat shortages that it was unaffordable for many families.  Official government figures put the number of deaths at 80, although some estimates claimed up to 400 people may have been killed.

During the repressions that followed the massacres, Fontana fled to Switzerland where he settled in Montagnola, a small town near Lugano. He was supported by local Liberal radicals, but as his health deteriorated, he reduced his literary output.  He died in Lugano in 1919 at the age of 69.

Corriere della Sera's headquarters in Via Solferini,
its Milan offices since the early 20th century

Travel tip:

Corriere della Sera, one of Italy’s main daily newspapers with a circulation of around 250,000, has had its headquarters in the same buildings In Milan since the beginning of the 20th century, and therefore it is popularly known as "the Via Solferino newspaper", after the street where it is still located, which connects Porta Garibaldi with the Brera district, about 1.5km (1 mile) north of the city’s cathedral and the Galleria Vittorio Emanuele II. When the newspaper was founded in 1876, it was produced in a building directly facing the Galleria. Its earliest editorial offices operated right beside the Galleria’s Piazza della Scala entrance. This proximity meant that the newspaper grew up literally on the edge of Milan’s most symbolic civic space, and the two became intertwined in the city’s cultural identity. As the name indicates, it was originally an evening paper. During the Fascist regime in Italy, it broadly supported Mussolini but tried to distance itself from the deposed dictator after World War Two, for a while going under the title of Il Nuovo Corriere della Sera, a name that it kept until 1959. Nowadays, its political agenda could be described as centre-right. 

The Chiesa di San Biagio in Caprino Bergamasco,
the town where Fontana wrote his libretto for Edgar

Travel tip:

Caprino Bergamasco, where Fontana was based when he wrote the libretto for Edgar, is a quiet hill town at the southern edge of the province of Bergamo in Lombardy, made up of clusters of old stone houses against a backdrop of of gentle slopes and cultivated fields, described as a town in which life moves at a measured pace, anchored by the rhythms of agriculture. The town has viewpoints that look towards the Adda valley on one side and the first foothills of the Bergamasque Alps on the other. It is the home of the Collegio Convitto Celana, an historic seminary that has long been associated with religious education and cultural life in the area. The parish church, the Chiesa di San Biagio, has some attractive frescoes and traditional Lombard religious architecture.  Nearby attractions include the Paderno d’Adda Iron Bridge - an engineering landmark spanning the Adda River, and Montevecchia - a hilltop village and nature reserve offering panoramic views and hiking trails.

More reading:

How Puccini took the baton from Giuseppe Verdi as Italy’s most celebrated composer

Giulio Ricordi, the music publisher who took the credit for ‘discovering’ Puccini

How Milan’s bread riots led to the assassination of Umberto I

Also on this day:

228: The death of Saint Martina of Rome

1629: The death of architect Carlo Maderno

1640: The death of Saint Hyacintha Mariscotti

1721: The birth of Venetian painter Bernardo Bellotto

1935: The birth of actress Elsa Martinelli

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Pietro Metastasio – poet and librettist

From street entertainer to leading libretto writer

Pietro Metastasio became Europe's
most celebrated librettist 

Pietro Metastasio, who became Europe’s most celebrated opera librettist in the 18th century, was born on this day in 1698 in Rome.

He was christened Pietro Antonio Domenico Trapassi, one of four children born to Felice Trapassi, from Assisi and Francesca Galasti from Bologna. His father served in the papal forces before becoming a grocer in Via dei Cappellari.

While still a child, Pietro could attract crowds by reciting impromptu verses. On one occasion, in 1709, Giovanni Vincenzo Gravina, director of the Arcadian Academy, stopped to listen. He was so impressed that he made the young boy his protégé and later adopted him, changing his surname to Metastasio.

He provided the young Metastasio with a good education and encouraged him to develop his talent.

When Gravina was on his way to Calabria on a business trip, he exhibited Metastasio in the literary circles of Naples, but after the young boy became ill, he placed him in the care of a relative to help him recuperate.

Gravina decided Metastasio should never improvise again but should concentrate on his education and reserve his talent for nobler efforts.

The title page of Metastasio's libretto
Glo orti esperidi

At the age of 12, Metastasio translated the Iliad into octave stanzas and two years later he composed a tragedy based on Gravina’s favourite epic poem.

After Gravina died, Metastasio inherited his fortune. He recited an elegy to his patron at a meeting of the Arcadian Society in Rome.

But within two years he had spent all his money and he decided to become a lawyer in Naples.

While working in a lawyer’s office he composed a poem for Donna Anna Francesca Ravaschieri Pinelli di Sangro on the occasion of her marriage to the Marchese Don Antonio Pignatelli.

In 1722, while Naples was under Austrian rule, he was asked to compose a serenata to mark the birthday of Empress Elisabeth Christine. He wrote Gli orti esperidi, which was set to music by Nicola Porpora and featured Porpora’s pupil, the castrato Farinelli.

Marianna Bulgarelli, who played Venus in the opera, persuaded Metastasio to give up law and promised him fame and financial independence.

In her house he met the great composers of the day, such as Scarlatti and Pergolesi, who later set his plays to music. Bulgarelli adopted him, along with the whole Trapassi family, who came to live with them.

The monument in Metastasio in
Rome's Piazza della Chiesa Nuova

Metastasio wrote a string of dramas, earning a reasonable sum of money for each work, but he always longed for a fixed income.

When he was offered the post of court poet in Vienna he accepted willingly and set off at once, leaving his family in Bulgarelli’s devoted care.

Between the years 1730 and 1740 he wrote some of his finest dramas for the imperial theatre.

The libretto for Adriano in Siria was used by more than 60 composers during the 18th and early 19th centuries.

From about 1745 his output began to decline, although some of the cantatas he wrote at that time were later to become very popular.

His works were translated into French, English, German, Spanish and modern Greek and set to music over and over again by the top composers.

Metastasio died in 1782, while still in Vienna , at the age of 84.

The Palazzo Farnese is now used for the French Embassy

Travel tip:

The Arcadian Society in Rome used to meet at Palazzo Farnese, the home of the former Queen of Sweden. Queen Christina had abdicated from her throne, converted to Roman Catholicism and moved to Rome, where she became a cultural leader and the protector of artists, musicians and writers. She was allowed to lodge in Palazzo Farnese, an important renaissance building, by Pope Alexander VII.  The palace, in Piazza Farnese in the Campo dè Fiori area of Rome is now used as the French Embassy.

The Teatro San Bartolomeo 

Travel tip:

Metastasio’s libretto for the opera Didone abbandonato, with music by the composer Domenico Sarro, was first heard at the Teatro San Bartolomeo in Naples in 1724. Teatro San Bartolomeo closed in 1737 when the newly-built Teatro San Carlo replaced it as the royal opera house in Naples . It was demolished to make way for the Chiesa di Santa Maria delle Grazie, but remnants of the old theatre’s boxes can still be seen in the church, which is in vico Graziella al Porto, behind the Church of the Pietà dei Turchini, accessible through narrow alleys from Via Medina in the San Giuseppe Carità district. 

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