Giacomo Puccini

His most renowned works are La bohème (1896), Tosca (1900), Madama Butterfly (1904), and the unfinished Turandot (1926, posthumously completed by Franco Alfano), all of which are among the most frequently performed and recorded in the entirety of the operatic repertoire.

• Name — Giacomo Puccini • Born — 22 December 1858 • Birthplace — Lucca, Grand Duchy of Tuscany • Died — 29 November 1924 • Place of death — Brussels, Belgium • Works — List of compositions

• Illustration — Puccini's birthplace in the Corte San Lorenzo, Lucca; the building presently houses a museum dedicated to his life and œuvre Born in Lucca in the Grand Duchy of Tuscany, in 1858; he was the sixth of nine children of Michele Puccini (1813–1864) and Albina Magi (1830–1884). The Puccini family was established in Lucca as a local musical dynasty by Puccini's great-great-grandfather – also named Giacomo (1712–1781). This first Giacomo Puccini, though often referred to as Jacopo, was maestro di cappella of the Cattedrale di San Martino in Lucca. He was succeeded in this position by his son, Antonio Puccini, and then by Antonio's son Domenico, and then his son, Michele. Each Puccini studied music at Bologna, and some took additional musical studies elsewhere. Domenico Puccini studied for a time under Giovanni Paisiello. Each composed music for the church. In addition, Domenico composed several operas, and Michele composed one opera. Puccini's father Michele enjoyed a reputation throughout northern Italy, and his funeral was an occasion of public mourning, at which the then-famed composer Giovanni Pacini conducted a Requiem. With the Puccini family having occupied the position of maestro di cappella for 124 years (1740–1864) by the time of Michele's death, it was anticipated that Michele's son Giacomo would occupy that position as well when he was old enough. However, when Michele Puccini died in 1864, Giacomo was only six years old and thus incapable of assuming his father's post. As a child, he nevertheless participated in the musical life of the Cattedrale di San Martino, as a member of the boys' choir, and later as a substitute organist. Puccini received a general education at the San Michele seminary in Lucca, and then at the seminary of the cathedral. One of Puccini's uncles, Fortunato Magi, supervised his musical education. In 1880 Puccini achieved a diploma from Lucca's Pacini School of Music, having studied there with Magi, and later with Carlo Angeloni, who had also instructed Alfredo Catalani. A grant from Queen Margherita, and assistance from another uncle, Nicholas Cerù, provided the funds necessary for Puccini to continue his studies at the Milan Conservatory for a further three years; there, he studied composition with Stefano Ronchetti-Monteviti, Amilcare Ponchielli, Amintore Galli, and Antonio Bazzini. He shared his dorm with Pietro Mascagni. Later that year, Puccini composed his Mass, marking the culmination of his family's long association with liturgical music in his native Lucca.

As a thesis piece for the Milan Conservatory, Puccini composed the orchestral Capriccio sinfonico ("Symphonic caprice"). Puccini's teachers, Ponchielli and Bazzini, were impressed by his work, which was subsequently performed at a student concert at the conservatory on 14 July 1883, conducted by Franco Faccio. The Capriccio was favourably reviewed in the Milanese publication La Perseveranza, and thus Puccini began to build a reputation as a young composer of promise in Milanese music circles.

Following the première of the Capriccio sinfonico, Ponchielli and Puccini discussed the possibility that Puccini's next work might be an opera. Ponchielli invited Puccini to stay at his villa, where Puccini was introduced to Ferdinando Fontana. They agreed to collaborate on an opera, for which Fontana would provide the libretto. Puccini submitted the work, titled Le Villi ('The Fairies'), for Casa Musicale Sonzogno's first of four musical competitions, advertised in April 1883, for a new, unperformed opera "inspired by the best traditions of Italian opera", which could be "idyllic, serious, or comic", to be judged by a panel including Galli and Ponchielli. Puccini's submission was disqualified because its manuscript was illegible; the second competition, in 1889, was notably won by Mascagni's Cavalleria rusticana. Despite the defeat in the competition, Le Villi was later staged at the Teatro Dal Verme, premiering on 31 May 1884. Casa Ricordi assisted with the première by printing the libretto without charge. Fellow students from the Milan Conservatory formed a large part of the orchestra. The performance was enough of a success that Casa Ricordi purchased the opera. Revised into a two-act version with an intermezzo between the acts, Le Villi was performed at La Scala in Milan, on 24 January 1885. However, Ricordi did not publish the score until 1887, hindering further performance of the work.

Impressed with Le Villi and its composer, music publisher Giulio Ricordi commissioned a second opera from Puccini, which would result in Edgar. Work begun in 1884 when Fontana began working out the scenario for the libretto. Puccini finished primary composition in 1887, and orchestration in 1888. Edgar premiered at La Scala on 21 April 1889 to a lukewarm response. The work was withdrawn for revisions after its third performance. In a Milanese newspaper, Giulio Ricordi published a defence of Puccini's skill as a composer, while criticizing Fontana's libretto. A revised version met with success at the Teatro del Giglio in Puccini's native Lucca on 5 September 1891. In 1892, further revisions reduced the length of the opera from four acts to three, in a version that was well received in Ferrara and was performed in Turin and in Spain. Puccini made further revisions in 1901 and 1905, but the work never achieved popularity. Without the personal support of Ricordi, Edgar might have cost Puccini his career. Puccini had eloped with his former piano student, the married Elvira Gemignani (Bonturi), and Ricordi's associates were willing to turn a blind eye to his lifestyle as long as he was successful. When Edgar failed, they suggested to Ricordi that he should drop Puccini, but Ricordi said that he would stay with him and continued his allowance until his next opera.

On commencing his next opera, Manon Lescaut, Puccini announced that he would write his own libretto so that "no fool of a librettist" could spoil it. Ricordi persuaded him to accept Ruggero Leoncavallo as his librettist, but Puccini soon asked Ricordi to remove him from the project. Four other librettists were then involved with the opera, as Puccini constantly changed his mind about the structure of the piece. It was almost by accident that the final two, Luigi Illica and Giuseppe Giacosa, came together to complete the opera. Manon Lescaut premiered at the Teatro Regio in Turin on 2 February 1893. By coincidence, Puccini's first enduringly popular opera appeared within a week of the premiere of Verdi's last opera, Falstaff, which was first performed on 9 February 1893. In anticipation of the premiere, La Stampa wrote that Puccini was a young man concerning whom "great hopes" had a real basis ("un giovane che è tra i pochi sul quale le larghe speranze non siano benigne illusioni"). Because of the failure of Edgar, however, a failure of Manon Lescaut could have jeopardized Puccini's future as a composer. Although Giulio Ricordi, head of Casa Ricordi, was supportive of Puccini while Manon Lescaut was still in development, the Casa Ricordi board of directors was considering cutting off Puccini's financial support. In any event, "Manon Lescaut was Puccini's first and only uncontested triumph, acclaimed by critics and public alike." After the London premiere in 1894, George Bernard Shaw pronounced: "Puccini looks to me more like the heir of Verdi than any of his rivals."

• Illustration — Puccini photographed with his piano in 1900

Puccini's next work after Manon Lescaut was La bohème ("The bohemian lifestyle"), a four-act opera based on Henri Murger's La Vie de Bohème (1851). La bohème premiered in Turin in 1896, conducted by Arturo Toscanini. Within a few years, it had been performed in many of the leading opera houses of Europe, including in Britain, as well as in the United States. It was a popular success and remains one of the most frequently performed operas ever written. The libretto of the opera, freely adapted from Murger's episodic novel, combines comic elements of the impoverished life of the young protagonists with tragic aspects, such as the death of the young seamstress Mimí. Puccini's own life as a young man in Milan served as a source of inspiration for elements of the libretto. During his years as a conservatory student and in the years before Manon Lescaut, he experienced poverty similar to that of the bohemians in La bohème, including a chronic shortage of necessities like food, clothing and money to pay rent. Although Puccini was granted a small monthly stipend by the Congregation of Charity in Rome (Congregazione di caritá), he frequently had to pawn his possessions to cover basic expenses. Early biographers such as Wakeling Dry and Eugenio Checchi, who were Puccini's contemporaries, drew express parallels between these incidents and particular events in the opera. Checchi cited a diary kept by Puccini while he was still a student, which recorded an occasion in which, as in Act 4 of the opera, a single herring served as a dinner for four people. Puccini himself commented: "I lived that Bohème, when there wasn't yet any thought stirring in my brain of seeking the theme of an opera". ("Quella Bohème io l'ho vissuta, quando ancora non mi mulinava nel cervello l'idea di cercarvi l'argomento per un'opera in musica.") Puccini's composition of La bohème was the subject of a public dispute between Puccini and Ruggiero Leoncavallo. In early 1893, the two composers discovered that they were both engaged in writing operas based on Murger's work. Leoncavallo had started his work first, and he and his music publisher claimed to have "priority" on the subject (although Murger's work was in the public domain). Puccini responded that he started his own work without having any knowledge of Leoncavallo's project, and wrote: "Let him compose. I will compose. The audience will decide." Puccini's opera premiered a year before that of Leoncavallo, and has been a perennial audience favourite, while Leoncavallo's version quickly faded into obscurity.

• Illustration — Original poster for Puccini's Tosca Puccini's next work after La bohème was Tosca (1900), arguably Puccini's first foray into verismo, the realistic depiction of many facets of real life including violence. Puccini had been considering an opera on this theme since he saw the play Tosca by Victorien Sardou in 1889, when he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music." The music of Tosca employs musical signatures for particular characters and emotions, which have been compared to leitmotivs, and some contemporaries saw Puccini as thereby adopting a new musical style influenced by Richard Wagner. Others viewed the work differently. Rejecting the allegation that Tosca displayed Wagnerian influences, a critic reporting on the Torino premiere of 20 February 1900 wrote: "I don't think you could find a more Puccinian score than this."

On 25 February 1903, Puccini was seriously injured in a car crash during a nighttime journey on the road from Lucca to Torre del Lago. The car was driven by Puccini's chauffeur and was carrying Puccini, his future wife Elvira, and their son Antonio. It went off the road, fell several metres, and flipped over. Elvira and Antonio were flung from the car and escaped with minor injuries. Puccini's chauffeur, also thrown from the car, suffered a serious fracture of his femur. Puccini was pinned under the vehicle, with a severe fracture of his right leg and with a portion of the car pressing down on his chest. A doctor living near the scene of the crash, together with another person who came to investigate, saved Puccini from the wreckage. The injury did not heal well, and Puccini remained under treatment for months. During the medical examinations that he underwent it was also found that he was suffering from a form of diabetes. The accident and its consequences slowed Puccini's completion of his next work.

The original version of Madama Butterfly ("Madam Butterfly") premiered at La Scala on 17 February 1904 with Rosina Storchio in the title role. It was initially greeted with great hostility (probably largely owing to inadequate rehearsals). When Storchio's kimono accidentally lifted during the performance, some in the audience started shouting: "The butterfly is pregnant" and "There is the little Toscanini". The latter comment referred to her well-publicised affair with Arturo Toscanini. This version was in two acts; after its disastrous premiere, Puccini withdrew the opera, revising it for what was virtually a second premiere at Brescia in May 1904 and performances in Buenos Aires, London, the US and Paris. In 1907, Puccini made his final revisions to the opera in a fifth version, which has become known as the "standard version". Today, the standard version of the opera is the version most often performed around the world. However, the original 1904 version is occasionally performed as well, and has been recorded. Puccini incorporated elements of Japanese music into his score and "tried to make B. F. Pinkerton sound like an American."

• Illustration — Puccini and Toscanini After 1904, Puccini's compositions were less frequent. In 1906 Giacosa died and, in 1909, there was a scandal after Puccini's wife, Elvira, falsely accused their maid Doria Manfredi of having an affair with Puccini. Finally, in 1912, the death of Giulio Ricordi, Puccini's editor and publisher, ended a productive period of his career. Giorgio Polacco recalled the tempestuous relationship between Puccini and Toscanini. Puccini sent Toscanini some panettone. The composer recalled that they were not on speaking terms and wired him "PANETTONE SENT BY MISTAKE. PUCCINI." The conductor wired back: "PANETTONE EATEN BY MISTAKE. TOSCANINI.”

• Illustration — Puccini, 1910 Puccini completed La fanciulla del West ("The Damsel of the West"), based on a play by David Belasco, in 1910. This was commissioned by, and first performed at, the Metropolitan Opera in New York on 10 December 1910 with Met stars Enrico Caruso and Emmy Destinn, for whom Puccini created the leading roles of Dick Johnson and Minnie. Toscanini, then the musical director of the Met, conducted. This was the first world premiere of an opera at the Met. The premiere was a great success. However, the compositional style employed in the opera, with few stand-alone arias, was criticized at the time. Some contemporaries also criticized the opera for failing to achieve an "American" tone. However, the opera has been acclaimed for its incorporation of advanced harmonic language and rhythmic complexity into the Italian operatic form. In addition, one aria from the opera, Ch'ella mi creda, has become a staple of compilation albums by operatic tenors. It is said that during World War I, Italian soldiers sang this aria to maintain their spirits. The 2008 Italian film Puccini e la fanciulla (Puccini and the Girl), is based on the period of his life when he was composing the opera. Puccini studied American folk music "in order to get the atmosphere.”

Puccini completed the score of La rondine ("The Swallow") to a libretto by Giuseppe Adami in 1916 after two years of work, and it was premiered at the Grand Théâtre de Monte Carlo on 27 March 1917. The opera had been originally commissioned by Vienna's Carltheater; however, the outbreak of World War I prevented the premiere from being given there. Moreover, the firm of Ricordi had declined the score of the opera – Giulio Ricordi's son Tito was then in charge and he described the opera as "bad Lehár". It was taken up by their rival, Lorenzo Sonzogno, who arranged the first performance in neutral Monaco. The composer continued to work at revising this, the least known of his mature operas, until his death. La rondine was initially conceived as an operetta, but Puccini eliminated spoken dialogue, rendering the work closer in form to an opera. A modern reviewer described La rondine as "a continuous fabric of lilting waltz tunes, catchy pop-styled melodies, and nostalgic love music," while characterizing the plot as recycling characters and incidents from works like La traviata and Die Fledermaus.

In 1918, Il trittico ("The Triptych") premiered in New York. This work is composed of three one-act operas, each concerning the concealment of a death: a horrific episode (Il tabarro; "The Cloak") in the style of the Parisian Grand Guignol, a sentimental tragedy (Suor Angelica; "Sister Angelica"), and a comedy (Gianni Schicchi).

Turandot, Puccini's final opera, was left unfinished at the composer's death in November 1924, and the last two scenes were completed by Franco Alfano based on the composer's sketches. The libretto for Turandot was based on a play of the same name by Carlo Gozzi. The music of the opera is heavily inflected with pentatonic motifs, intended to produce an Asiatic flavour to the music. Turandot contains a number of memorable stand-alone arias, among them "Nessun dorma".

The libretto of Edgar was a significant factor in the failure of that opera. Thereafter, especially throughout his middle and late career, Puccini was extremely selective, and at times indecisive, in his choice of subject matter for new works. Puccini was deeply involved in the process of writing the libretto itself, requiring many iterative revisions of his libretti in terms of both structure and text. Puccini's relationships with his librettists were at times very difficult. His publisher, Casa Ricordi, was frequently required to mediate disputes and impasses between them. Puccini explored many possible subjects that he ultimately rejected only after a significant amount of effort—such as the creation of a libretto—had been put into them. Among the subjects that Puccini seriously considered, but abandoned, were: Cristoforo Sly, Anima Allegra (based on the play El genio alegre by Serafín and Joaquín Álvarez Quintero), Two Little Wooden Shoes (I due zoccoletti) (a short story by Maria Louise Ramé, a.k.a. Ouida), the life of Marie Antoinette, Margherita da Cortona, and Conchita (based on the novel La Femme et le pantin – The Woman and the Puppet, by Pierre Loüys). Some of these abandoned subjects were taken up and turned into operas by other composers. For example, Franco Vittadini made an opera of Anima Allegra, Mascagni's opera Lodoletta is derived from Two Little Wooden Shoes, and Riccardo Zandonai eventually wrote Conchita.

• Illustration — Villa Puccini, Torre del Lago From 1891 onwards, Puccini spent most of his time, when not travelling on business, at Torre del Lago, a small community about fifteen miles from Lucca situated between the Ligurian Sea and Lake Massaciuccoli, just south of Viareggio. Torre del Lago was the primary place for Puccini to indulge his love of hunting. "I love hunting, I love cars: and for these things, in the isolation of Torre del Lago, I keep the faith." ("Amo la caccia, adoro l'automobile: e a questo e a quella nelle solitudini di Torre del Lago serbo intera la mia fede.") By 1900, he had acquired land and built a villa on the lake, now known as the "Villa Puccini". He lived there until 1921, when pollution produced by peat works on the lake forced him to move to Viareggio, a few kilometres north. After his death, a mausoleum was created in the Villa Puccini and the composer is buried there in the chapel, along with his wife and son who died later. The Villa Museo was owned by his granddaughter, Simonetta Puccini, until her death, and is open to the public. An annual Festival Puccini is held at Torre del Lago. • Illustration — Puccini on horseback; by Aleardo Villa

• Illustration — Puccini with his wife Elvira and son Antonio, 1900 In the autumn of 1884, in Lucca, Puccini began a relationship with a married woman named Elvira Gemignani (Bonturi; 1860–1930), a former piano student of his. Elvira's husband, Narciso Gemignani, was an "unrepentant womanizer", and Elvira's marriage was not a happy one. Elvira became pregnant by Puccini, and their son, Antonio (1886–1946), was born in Monza. Elvira left Lucca when the pregnancy began to show and gave birth elsewhere to avoid gossip. Elvira, Antonio and Elvira's daughter by Narciso, Fosca (1880–1968), began to live with Puccini shortly afterwards. Narciso was killed by the husband of a woman that Narciso had an affair with, dying on 26 February 1903, one day after Puccini's car accident. Only then, in early 1904, were Puccini and Elvira able to marry, and to legitimize Antonio. The marriage between Puccini and Elvira was also troubled by infidelity, as Puccini had frequent affairs himself, including with well-known singers such as Maria Jeritza, Emmy Destinn, Cesira Ferrani, and Hariclea Darclée. In 1906, while attending the opening of Madama Butterfly in Budapest, Puccini fell in love with Blanke Lendvai, the sister of Hungarian composer Ervin Lendvai (his friend and protégé for many years). Blanke and Puccini exchanged love letters until 1911, when he started an affair with German aristocrat Baroness Josephine von Stangel, which lasted for six years. In 1909, Puccini's wife Elvira publicly accused Doria Manfredi, a maid working for the Puccini family, of having an affair with the composer. After the accusation, Manfredi committed suicide. However, an autopsy determined that Manfredi had died a virgin, refuting the allegations made against her. Elvira Puccini was prosecuted for slander and was sentenced to more than five months in prison, although a payment to the Manfredi family by Puccini spared Elvira from having to serve the sentence. Some music critics and interpreters of Puccini's work have speculated that the psychological effects of this incident on Puccini interfered with his ability to complete compositions later in his career, and also influenced the development of his characters such as Liù (from Turandot), a slave girl who dies tragically by suicide. In 2007, documents were found in the possession of Nadia Manfredi, a descendant of the Manfredi family, which indicated that Puccini was actually having an affair with Giulia Manfredi, Doria's cousin. Upon the discovery of these documents, the press began to allege that Puccini had fathered Giulia Manfredi's son Antonio, which would make Nadia a granddaughter of Puccini.

Unlike Wagner and Verdi, Puccini was not active in politics. Puccini biographer Mary Jane Phillips-Matz wrote: "Throughout this entire period [of World War I and its immediate aftermath], Puccini's interest in politics was close to zero, as it had been all his life, so far as one can judge. He seemed almost indifferent to everything from mayoral elections in Viareggio to cabinet appointments in Rome." Another biographer speculates that Puccini may have been—if he had a political philosophy—a monarchist. Puccini's indifference to politics caused him problems during World War I. Puccini's long-standing and close friendship with Toscanini was interrupted for nearly a decade because of an argument in the summer of 1914 (in the opening months of the war) during which Puccini remarked that Italy could benefit from German organization. Puccini was also criticized during the war for his work on La rondine under a 1913 commission contract with an Austrian theater after Italy and Austria-Hungary became opponents in the war in 1915 (although the contract was ultimately cancelled). Puccini did not participate in the public war effort, but privately rendered assistance to individuals and families affected by the war. In 1919, Puccini was commissioned to write music to an ode by Fausto Salvatori honouring Italy's victories in World War I. The work, Inno a Roma (Hymn to Rome), was to premiere on 21 April 1919, during a celebration of the anniversary of the founding of Rome. The premiere was delayed to 1 June 1919, when it was played at the opening of a gymnastics competition. Although not written for the fascists, Inno a Roma was widely played during Fascist street parades and public ceremonies. Puccini had some contact with Benito Mussolini and the Italian Fascist Party in the year preceding his death. In 1923 the Fascist Party in Viareggio made Puccini an honorary member and sent him a membership card. However, evidence that Puccini was actually a member of the Fascist Party is ambiguous. The Italian Senate has traditionally included a small number of members appointed in recognition of their cultural contributions to the nation. Puccini hoped to attain this honour, which had been granted to Verdi, and undertook to use his connections to bring about the appointment. While honorary senators could vote, there is no indication that Puccini sought the appointment for this purpose. Puccini also wished to establish a national theatre in Viareggio, a project which would require government support. Puccini met with Mussolini twice, in November and December 1923, seeking support for the theatre project. While the theatre project never came to fruition, Puccini was named Senator (senatore a vita) a few months before his death. At the time Puccini met with Mussolini, Mussolini had been prime minister for approximately a year, but his party had not yet taken full control of the Italian Parliament through the violence and irregularities of the 1924 general election. Puccini was no longer alive when Mussolini announced the end of representative government and the beginning of a fascist dictatorship, in his speech before the Chamber of Deputies on 3 January 1925.

• Illustration — Puccini, 1924 A chain smoker of Toscano cigars and cigarettes, Puccini began to complain of a chronic sore throat towards the end of 1923. A diagnosis of throat cancer led his doctors to recommend a new and experimental radiation therapy treatment which was being offered in Brussels. Puccini and his wife never understood how serious the cancer was, as the news was revealed only to his son. Puccini died in Brussels on 29 November 1924, aged 65, from complications after the treatment; uncontrolled bleeding led to a heart attack the day after surgery. Although not a fervent Catholic, Puccini received the last sacraments from Cardinal Clemente Micara, who was also a cello player and fellow musician as well as a personal friend of the composer. News of his death reached Rome during a performance of La bohème. The opera was immediately stopped, and the orchestra played Chopin's Funeral March for the stunned audience. His funeral took place at Saint Mary's Royal Church in Schaerbeek, Brussels. He was buried in Milan, in Toscanini's family tomb, but that was always intended as a temporary measure. In 1926, on the 2nd anniversary of his death, his son arranged to transfer his father's remains to a specially created chapel inside the Puccini villa at Torre del Lago.

Founded in 1996 in Lucca, the Centro di studi Giacomo Puccini embraces a wide range of approaches to the study of Puccini's work. In the US, the American Center for Puccini Studies specializes in the presentation of unusual performing editions of the composer's works and introduces neglected or unknown Puccini pieces. It was founded in 2004 by the singer and director Harry Dunstan.

Puccini wrote orchestral pieces, sacred music, chamber music, solo music for piano and organ and songs for voice and piano, most notably his 1880 mass Messa di gloria, his Preludio Sinfonico of 1882, and his 1890 string quartet movement Crisantemi. However, he is primarily known for his operas: • Le Villi, libretto by Ferdinando Fontana (in one act – premiered at the Teatro Dal Verme, 31 May 1884) • Edgar, libretto by Ferdinando Fontana (in four acts – premiered at La Scala, 21 April 1889) • Manon Lescaut, libretto by Luigi Illica, Giuseppe Giacosa, Marco Praga and Domenico Oliva (in four acts – premiered at the Teatro Regio, 1 February 1893) • La bohème, libretto by Luigi Illica and Giuseppe Giacosa (in four acts – premiered at the Teatro Regio, 1 February 1896) • Tosca, libretto by Luigi Illica and Giuseppe Giacosa (in three acts – premiered at the Teatro Costanzi, 14 January 1900) • Madama Butterfly, libretto by Luigi Illica and Giuseppe Giacosa (in two acts – premiered at La Scala, 17 February 1904) • La fanciulla del West, libretto by Guelfo Civinini and Carlo Zangarini (in three acts – premiered at the Metropolitan Opera, 10 December 1910) • La rondine, libretto by Giuseppe Adami (in three acts – premiered at the Opéra de Monte-Carlo, 27 March 1917) • Il trittico (premiered at the Metropolitan Opera, 14 December 1918) • Il tabarro, libretto by Giuseppe Adami • Suor Angelica, libretto by Giovacchino Forzano • Gianni Schicchi, libretto by Giovacchino Forzano • Turandot, libretto by Renato Simoni and Giuseppe Adami (in three acts – incomplete at the time of Puccini's death, completed by Franco Alfano: premiered at La Scala, 25 April 1926)

Giacomo Puccini was recorded at birth as Giacomo Antonio Domenico Michele Secondo Maria Puccini. His recorded language was Italian. He was the child of Michele Puccini. He married Elvira Puccini. One child is recorded: Antonio Puccini. Other recorded relations include Fosca Gemignani, Giacomo Puccini and Simonetta Puccini.

Giacomo Puccini is recorded as opera composer, composer, politician and conductor.