The Italian Opera Conductor During the Verismo Era: A Consideration of Tempo and Expression as a Developing Element of Conductors’ Performance Practices

This research, which combines historical survey, performance practice, and practice-led methods, examines the evolution of the Italian opera conductor and their subsequent influence upon the development of the Italian verismo composer. The focus of the research is on musical criteria such as tempo markings, tempo modification, and rhythmic freedom (rubato). The transformation from the composer as chief interpreter of their own music, the conductor as chief interpreter, is also explored. Such an examination contextualises performance practices of the conductor of Italian opera. Practical insights are gained from analysis and emulation (imitation) of specific historical sound recordings of Italian opera in conjunction with contemporary written evidence. This allows the researcher to draw conclusions about historically appropriate conducting practices of the era. The research uses creative work approaches and presents case studies to explore the un-notated tempo conventions of the nineteenth-century Italian opera conductor. Recordings include those by Arturo Toscanini (1867–1957), as well as composers-conductors such as Ruggero Leoncavallo (1857–1919) and Pietro Mascagni (1863–1845), all of which preserve late nineteenth-century conducting traditions. Historical research methodology augments the practice-led research and brings to light additional important findings. This is achieved by compiling documented historical evidence to highlight key elements that illustrate the evolution of the opera conductor’s performance practices during the verismo era