Those who prefer to look at it through the lens of the nineteenth century find his sometime emphasis on “closed numbers” (as opposed to the more open-ended arioso-a blend of recitative and aria) quite troublesome. The critical assessment of Puccini’s musical style is thus mixed. The ultimate question historians ask is which century Puccini belongs in. Writing opera during the same years that produced Stravinsky’s Rite of Spring and L’Histoire du Soldat, Schoenberg’s Pierrot Lunaire and his earliest 12-tone works, and Richard Strauss’s Salome and Elektra, Puccini’s work seems at least somewhat anachronistic. As the last in the line of venerable nineteenth-century Italian opera composers, his operas, although loved by audiences, have not been recognized as particularly innovative-particularly when compared to those of Rossini, Bellini, or Verdi. First, historians have not known exactly where to place Puccini’s work. There are a number of reasons for this rather blatant omission. Until recently, one would be hard pressed to find a discussion of Puccini’s operas in more scholarly music history books. Puccini's Compositional Style: Anachronistic or Modern?
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