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... on his own most characteristic level, where passion, sensuality, tenderness, pathos and despair meet and fuse, he was an unrivaled master. His melodic gift and harmonic sensibility, his consummate skill in orchestration and unerring sense of theater combined to create a style that was wholly original, homogeneous and compelling. <ref>[http://w3.rz-berlin.mpg.de/cmp/puccini.html Giacomo Puccini (1858-1924)] </ref>
... on his own most characteristic level, where passion, sensuality, tenderness, pathos and despair meet and fuse, he was an unrivaled master. His melodic gift and harmonic sensibility, his consummate skill in orchestration and unerring sense of theater combined to create a style that was wholly original, homogeneous and compelling. <ref>[http://w3.rz-berlin.mpg.de/cmp/puccini.html Giacomo Puccini (1858-1924)] </ref>
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Like [[Pietro Mascagni]] and [[Ruggero Leoncavallo]], Puccini wrote in a style called “verismo” (reality); the operatic equivalent of the writings of the [[French]] novelist, [[Emile Zola]] with plots that tended to concentrate on unpleasant realities, quite often with unpleasant characters.
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*Manon Lescaut (1893)
*Manon Lescaut (1893)
*La Bohème (1896)
*La Bohème (1896)
*'''Tosca''' (1900)
*Tosca (1900)
*'''Madama Butterfly''' (1904)
*Madama Butterfly (1904)
*Il Trittico, premiered in New York, (1918)
*La fanciulla del west (The Girl of the Golden West)
*Il Trittico, premiered in New York, (1918) (A triptych of three short operas)
*Turandot (unfinished)
*Turandot (unfinished)