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Preface by Professor John Walter Hill i Foreword v Acknowledgments ix 1.Introduction 1 The Delightful Problem 1 How a Puccini Melody Unfurls: PrimarySources 2 "The Ten Rules of Puccini" 6 Puccini's Neglected Metronome Markings9 Further Travesties of Tempo 14 Technology's Needs Are More Important ThanArt - Aren't They? 15 The Delightful Problem, Compounded 17 Problems of Tempoin the Soprano Arias of La Boheme Introduction 21 2. "Si. Mi chiamano Mimi"23 Overview 24 Analysis of Tempo Markings and Modifications 25 Luigi Ricci'sRehearsal Notes 27 Puccini's Autograph 30 Early Recordings of "Si. Michiamano Mimi" 31 Cesira Ferrani - Gemma Bellincioni - Claudia Muzio -Geraldine Farrar - Gabrielle Ritter-Ciampi - Delia Reinhardt - ZinaidaJurjewskaya - Maria Cebotari - Grace Moore - Rosetta Pampanini - LiciaAlbanese So Where Has This Got Us in Terms of Arriving at PerformanceCriteria? 49 3. "Quando me'n vo'" 55 Overview 56 Analysis of Tempo Markingsand Modifications 56 Luigi Ricci's Rehearsal Notes 60 Puccini's Autograph 61Early Recordings of "Quando me'n vo'" 61 Luisa Bresonier - Gina Viafora -Irene Pavlovska - Alma Gluck - Maria Kurenko - Maria Jeritza - ConchitaSupervia - Bidu Sayao - Tatiana Menotti - Anne McKnight - Lucine Amara SoWhere Has This Got Us in Terms of Arriving at Performance Criteria? 71 4."Donde lieta usci" 75 Overview 76 Analysis of Tempo Markings andModifications 79 Luigi Ricci's Rehearsal Notes 81 Puccini's Autograph 83Early Recordings of "Donde lieta usci" 84 Cesira Ferrani - Nellie Melba -Selma Kurz - Alma Gluck - Frances Alda - Hina Spani - Grace Moore - MagdaOlivero - Molajoli (with Muzio) - Beecham (with Perli) - Berrettoni (withAlbanese) - Toscanini (with Albanese) - Beecham (with Los Angeles) Summary 96So Where Has This Got Us in Terms of Arriving at Performance Criteria? 98Problems of Tempo in the Soprano Arias of Tosca Introduction 103 5. "Non lasospiri la nostra casetta" 105 Overview 106 Analysis of Tempo Markings andModifications 106 Luigi Ricci's Rehearsal Notes 107 An Early Recording of"Non la sospiri la nostra casetta" 110 Geraldine Farrar Criteria for Decidingon the Tempos 111 6. "Vissi d'arte, vissi d'amore" 113 Overview 114 Analysisof Tempo Markings and Modifications 115 Luigi Ricci's Rehearsal Notes 116Early Recordings of "Vissi d'arte, vissi d'amore" 119 Medea Mei-Figner -Salomea Kruszelnicka - Emma Eames - Emma Carelli - Elda Cavalieri - NellieMelba - Geraldine Farrar - Nellie Melba - Emmy Destinn - Selma Kurz - MariaJeritza - Frances Alda - Claudia Muzio - Rosa Ponselle - Marie-Louise Edvina- Hertha Stolzenberg - Helene Wildbrunn - Berta Kiurina Summary 129 So WhereHas This Got Us in Terms of Arriving at Performance Criteria? 131 Problems ofTempo in the Soprano Arias of Madama Butterfly Introduction 135 7. "Ancora unpasso" 137 Overview 138 Analysis of Tempo Markings and Modifications 138Luigi Ricci's Rehearsal Notes 139 Early Recordings of "Ancora un passo" 140Geraldine Farrar Criteria for Deciding on the Tempos 142 8. "Ieri son salita"145 Overview 146 Analysis of Tempo Markings and Modifications 146 LuigiRicci's Rehearsal Notes 147 Early Recordings of "Ieri son salita" 148Geraldine Farrar Criteria for Deciding on the Tempos 149 9. "Un bel divedremo" 151 Overview 152