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The opera’s action plays out against specific locations in Rome, and Puccini made sure that his music would be firmly grounded in realism. Ultimately, Puccini prevailed, and the completed opera was novel in its avoidance of grandiosity and its small number of stand-alone arias and ensembles. Ricordi was unhappy with the relatively small proportion of lyrical numbers in the third act and tried to persuade Puccini to add more. Sardou insisted on retaining the right to approve any libretto, and Puccini spent time with him in 1899, arguing for his own dramatic preferences. At first Giacosa resisted working on the libretto, because he disapproved of the story and knew it would be difficult to set into verse. Franchetti and the librettist Illica began work but ceded the project to Puccini for reasons that remain unclear. Puccini’s publisher, Giulio Ricordi, secured the rights for another Italian composer, Alberto Franchetti, instead. Critics deplored the play’s violence, but the public loved it, and Puccini was determined to base an opera on it. It had been written for French actress Sarah Bernhardt, who was perhaps the only person who could have managed the role’s intense dramatics successfully. In 1889 Puccini, barely 30 years old, set his sights on Sardou’s play, a wrenching melodrama of love and hate, passion and death, set against a backdrop of revolution. SpaceNext50 Britannica presents SpaceNext50, From the race to the Moon to space stewardship, we explore a wide range of subjects that feed our curiosity about space!.Learn about the major environmental problems facing our planet and what can be done about them!

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