- Leopoldo Mugnone
Leopoldo Mugnone (b.
Naples , 29 September 1858; d.Capodichino , Naples 22 December 1941) was an Italian conductor, especially of opera, whose most famous work was done in the period 1890-1920, both in Europe and South America. He conducted various operatic premieres, and was also a composer of operas.Training
The son of Antonio Mugnone, principal double-bass in the orchestra of the San Carlo Theatre in Naples, Mugnone studied from an early age at the Royal Conservatorio of
San Pietro a Maiella underPaolo Serrao andBeniamino Cesi . He composed his first theatre work, a little opera buffa "Il Dottor Bartolo Salsapariglia", at the age of 12, in which he wished to take part in the basso comico role, though he had then only an alto voice. At 16 he began conducting. A year later he was recruited as a chorus director for an operetta troupe at the Teatro Nuovo, run by F. Sadowsky. From there he went on to the Garibaldi Theatre, first as chorus master and later as "concertatore". Two other early operettas by him, "Don Bizzarro e le sue figlie" (1 act), and "Mamma Angot al serraglio di Costantinopoli" (3 acts) were produced during the later 1870s at Naples.Mugnone was himself the teacher of the conductor
Uriel Nespoli .Early career
Mugnone established his reputation in Italy and beyond, and conducted a tour with the double-bass player Bottesini. In 1887 at the Costanzi Theatre (Rome) in a single season he conducted "
La forza del destino " andFilippo Marchetti 's "Ruy Blas ". After this the publisher Sonzogno, recognising his potential, took him under his wing: in 1888 he was promoted to conduct at La Scala, at theTheatre de la Gaîté inParis , and at the Municipale inNice (amongst others). According toGiuseppe Depanis , a "Carmen " of his of 1888, withLuisa Borghi , at the Carignano inTurin was the last artistic experience enjoyed byFriedrich Nietzsche before madness overtook him. [See Giovanni Borrelli, "Vita e Opere di L. Mugnone", in "Aspettando il Teatro Mugnone, Omaggio al Mo. Leopoldo Mugnone", (Unartgroup, Associazione Culturale Universitaria).]Mugnone was very esteemed by
Verdi , who especially admired his performances of "Otello " and "Falstaff", and became a friend of the conductor. After a May 1894 performance of "Falstaff" at the Paris Opera,Boito wrote to Verdi: "Mugnone has understood the entire score with a great power of penetration." With the same work Mugnone gave the inaugural concert of theTeatro Massimo atPalermo on 16 May 1897. A story goes that he once got hold of a score withToscanini 's annotations and flung it from him, saying: "Bah! Puzza di Parma!" (It stinks of Parma). [G. Borrelli, 'Vita e opere,' etc.] The Verdi centenary celebrations of October 1913, at La Scala, opened with a memorable performance of "Nabucco " which he arranged and directed.His own compositions, however, and many of his most important premieres, were in the field of
verismo opera. In 1890 he conducted the sensational premiere ofMascagni 's "Cavalleria rusticana " (who had won the "Concorso Sonzogno" with this work), at the Costanzi withGemma Bellincioni andRoberto Stagno . After this he was sought out by composers of the young school as one likely to be sympathetic to their work. His own one-act opera "Il biricchino " (Venice 1892) did not fare well in Vienna, for after it was presented at the Teatro dell’Esposizione in 1892, the criticHanslick pronounced it to be a mediocre and objectionable thing. It appeared inBarcelona in 1893. Mugnone became famous for other revivals of important operas, includingGlück 's "Orfeo ,"Rossini 's "Guglielmo Tell ", andBerlioz 's "La Damnation de Faust " in its original form as an oratorio. During the Exhibition of 1899 he directed a Grand Opera season inParis .Mugnone conducted the world premiere of "
Tosca " in Rome in 1900 (including interruptions for a bomb scare). [S. VanDiver Nicassio, "Tosca's Rome: The Play and the Opera in Historical Perspective" (University of Chicago press, 2002), p. 24.] His own opera "Vita Brettona " was premiered at Naples in 1905. Between 1904 and 1906 he had busy seasons at Covent Garden, performingAndrea Chénier (withStrakosch , Zenatello, Sammarco), "Don Giovanni " (Strakosch and Battistini), "Madame Butterfly " (withGiachetti ), "Faust" and "La traviata " (with Melba), "Manon Lescaut ", "La bohème ", "Tosca", "Mefistofele ", "Aida ", "Un ballo in maschera ", and "Rigoletto " (with Melba, Stracciari, and Battistini). [List in G. Borrelli, "Vita e Opere."] He gave the first London performances ofCilea 's "Adriana Lecouvreur " (November 1904) and Giordano's "Fedora " (November 1906, with Giachetti and Zenatello). [H. Rosenthal and J. Warrack, "Concise Oxford Dictionary of Opera" (OUP, London 1974 printing).]He gave the first performance of
Franchetti 's "La figlia di Iorio " (on a text byd'Annunzio ) at La Scala in 1906. (Like Mugnone, Franchetti had been a student of Serrao). He conducted forEugenia Burzio 's famous La Scala debut in March 1906 as Katiusha in the "Risurrezione " ofFranco Alfano (another Serrao pupil). In 1910 (17 March) he gave the premiere ofGiordano 's "Mese Mariano " at the Teatro Massimo.Other Italian premieres of this period given by him were: [See list appended to G. Borrelli, "Vita e Opere, etc."]
*"Carlotta Clépier " byPietro Floridia (Naples, Circo Nazionale, May 1882);
*"Regina e Contadina di Sarria (Naples, Teatro dei Fiorentini, 24 June 1882, with Gemma Bellincioni andAntonio Pini-Corsi );
*"Medgé " byS. Samara (Rome, Costanzi, 11 Dec. 1888, withEmma Calvé andDe Vries );
*"Il Conte di Gléichen " bySalvatore Auteri-Manzocchi (Rome, season of 1888-89);
*"Le Cid " byMassenet (first Rome production);
*"Patria " byPaladilhe . (Rome, autumn 1888);
*"Djamileh " byBizet , (Rome, season of 1889-90, with Bellincioni);
*"Orfeo " byGluck , (revival, Rome 1889);
*"Labilia " byN. Spinelli (Rome, 9 May 1890, with Bellincioni and Stagno);
*"Andrea del Sarto" byBaravalle and "Spartacus" byPietro Platania (Rome, season 1890-91, with Mme Marconi and Cattaneo);
*"Rudello " byVincenzo Ferroni (Rome, 28 May 1890, with Bellincioni e Stagno);
*"I Pagliacci byLeoncavallo (first at Rome, Teatro Nazionale, 1892);
*"Le Villi " byPuccini , (first Rome production, Costanzi, 28 October 1899, with Pasini and R. Galli);
*"Werther " by Massenet (first Rome production, 30 December 1899, with Savelli and De Luca);
*"Sappho" by Massenet, (first Rome production, 20 March 1900, with Bellincioni and Moreo);
*"Le Maschere " by Mascagni (Naples, San Carlo, 19 January 1901, withAngelica Pandolfini , Giachetti e Schiavazzi).South America
It was through
Sonzogno that Mugnano began to develop his work in operatic seasons inArgentina and elsewhere inSouth America , where he made a significant impact. In Buenos Aires he gave the first South American "Die Meistersinger von Nürnberg " (in Italian) in August 1898. He conducted premieres inUruguay of "Die Walküre ", "Tosca ", "Zazà ", "Don Giovanni ",Franchetti 's "Germania", "Thais " and his own "Vita Brettona", and in 1910 conducted "Götterdämmerung " andGustave Charpentier 's "Louise ." [S. Salgado & J. M. Sanguinetti, "The Teatro Solis: 150 Years of Opera, Concert and Ballet in Montevideo" (Wesleyan University Press, 2003), p. 130.]Later Tours
Between May and August 1919 he conducted a Covent Garden Italian season, including "Aida", "Tosca", "Madame Butterfly" and other works, and the first England performance of Mascagni's "Iris" (July, with Margaret Sheridan). This appearance was under the management of
Thomas Beecham , who describes him as a man of fiery and uncontrollable temper... 'never a day passed without a stormy scene with singers, chorus and orchestra, coupled with threats to return to Italy at once.' These scenes always ended in Beecham's room, and after several such experiences Beecham called his bluff by producing tickets for Mugnone and his family to return to Italy the following day. 'He opened and closed his mouth, rolled his eyes, ruffled his hair and after several abortive attempts at speech finally roared out "I will never leave you".' A long speech of justification, explanation, and declaration of fondness for England followed, and the season proceeded: life was a little quieter after that, at least for Beecham, who considered Mugnone's interpretations of Verdi the finest he ever heard. [T. Beecham, "A Mingled Chime, Leaves from an Autobiography" (Hutchinson, London 1944, 180).]In March 1921 he began a season at
Lexington , USA, with an opera troupe headed byIva Pacetti . From May to July 1925 he was back at Covent Garden for "Aida", "Andrea Chénier" (with Margaret Sheridan,Giacomo Lauri-Volpi ,Benvenuto Franci ), "Il barbiere di Siviglia " (withToti dal Monte ) and "Tosca" (withMaria Jeritza ).Archive and Memorial
Around 1933 Mugnano gave to the Museums of La Scala and the Rome Opera, and to the Naples Conservatorio, about 2000 documents including letters of Verdi, Massenet, Mascagni, Strauss and Leoncavallo, and a voluminous cache of Puccini materials.
A 'Teatro Mugnone' (named in honour of Leopoldo Mugnone) has recently been restored and opened for modern theatre in the Italian Comune of
Marcianise .Sources
*A. Eaglefield-Hull, "A Dictionary of Modern Music and Musicians" (Dent, London 1924).
*G. Gatti-Cassazza, "Memories of the Opera"
*Enzo Raucci, [ [http://www.unartgroup.it Unart Group ] ] , "Vita e Opere di L. Mugnone", in "Aspettando il Teatro Mugnone, Omaggio al Mo. Leopoldo Mugnone", (Unartgroup, Associazione Culturale Universitaria at www.unartgroup.it).
*Titta Ruffo, "La mia parabola artistica", (Milano 1937).
*E. De Leva, "Leopoldo Mugnone nel dolore e nell’arte," "Corriere di Napoli", 6 August 1941.
*A. De Angelis, "Aneddoti sit Mugnone," in "La Voce d’Italia", 23 November 1941.
*Giuseppe Depanis, "I Concerti Popolari ed il Teatro Regio di Torino: Quindici Anni da Vita Musicale, 1872-1886" (2 vols). (Societa Tipografico-Editrice Nazionale, Torino 1914-1915)Notes
External links
*New York Times 30 March 1921 Announces Mugnone season at Lexington [http://query.nytimes.com/mem/archive-free/pdf?_r=1&res=9B03E1DF103FEE3ABC4850DFB566838A639EDE&oref=slogin]
*Mugnone-Verdi Story of bell-casting atPistoia for "Tosca", [http://www.playbillarts.com/features/article/7571.html]
*Item by Alessandro Tartaglione, Assessore alla Cultura del Comune di Marcianise, sopra il Teatro Mugnone (Italiano) [http://64.233.183.104/search?q=cache:-GT5L5lqDYcJ:www.unartgroup.it/%3Fpage_id%3D247+Teatro+Mugnone+di+Marcianise&hl=en&ct=clnk&cd=1&gl=uk]
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