Francesco Cilea (Italian pronunciation: [franˈtʃesko tʃiˈlɛːa]; July 23, 1866 – November 20, 1950) was an Italian composer. He is best known for writing the operas L'arlesiana and Adriana Lecouvreur.

Biography

Francesco Cilea was born in Palmi, near Reggio di Calabria. He was the son of a well-known lawyer and originally planned to become a lawyer like his father. At age four, he heard a performance of Vincenzo Bellini's opera Norma and was deeply moved by it. He was sent to study music at the Conservatorio di San Pietro a Majella in Naples, where he showed great effort and talent. He received a gold medal from the Department of Education for his work.

In 1889, Cilea completed his studies by submitting his opera Gina, with a libretto by Enrico Golisciani. The libretto was based on the French play Catherine, ou La Croix d'or by Baron Anne-Honoré-Joseph Duveyrier de Mélésville. The opera, called a "melodramma idilico," was performed at the college theatre and caught the attention of the publishers Sonzogno. They arranged for a second production in Florence in 1892.

Sonzogno later asked Cilea to compose La Tilda, a realistic opera in three short acts similar to Mascagni's Cavalleria rusticana. The libretto was written by Angelo Zanardini. La Tilda had its first performance in April 1892 at the Teatro Pagliano in Florence. It was later shown at the Vienna Exhibition in 1892 alongside other works by Sonzogno. Cilea did not like the opera much and only agreed to compose it to please Sonzogno and avoid losing a professional opportunity. The original orchestral score was lost, preventing its performance until a new version by Giancosimo Russo allowed it to be played again in 2025.

On 27 November 1897, Cilea's third opera, L'Arlesiana, premiered at the Teatro Lirico in Milan. Based on a play by Alphonse Daudet, the libretto was written by Leopoldo Marenco. The young Enrico Caruso performed the famous aria È la solita storia del pastore, which became widely known. However, L'Arlesiana was not successful at first. Cilea tried to improve it many times, making many changes throughout his life. Even after revisions, the opera was not popular except during the 1930s, when political support from Mussolini helped it gain some attention.

In 1902, Cilea's opera Adriana Lecouvreur premiered at the Teatro Lirico in Milan with Enrico Caruso. The opera, based on a play by Eugène Scribe, was written by Arturo Colautti. It is the opera of Cilea most known today. It combines musical styles from the Neapolitan school with influences from French composers like Massenet.

There are records showing Cilea's skills as a pianist. He accompanied Caruso in recordings of parts of the duet Non piu nobile and another recording with baritone De Luca in 1902. In 1904, he played piano for Fernando de Lucia in L'Anima ho stanca from Adriana Lecouvreur and the song Lontananza. Critics noted his piano playing was stiff and unexciting, even with the limited recording technology of the time.

Cilea's final opera, Gloria, premiered at La Scala in Milan on 15 April 1907 under Arturo Toscanini. Based on a play by Victorien Sardou, the libretto was written by Colautti. The opera was performed only twice before being withdrawn. Cilea revised it later but the work was not successful. This failure led him to stop composing operas. Some ideas for other operas, such as Il ritorno dell'amore and La rosa di Pompei, survive as sketches or parts of libretti.

After retiring from opera, Cilea continued to compose chamber music and orchestral pieces. In 1913, he created a symphonic poem honoring Giuseppe Verdi, with verses by Sem Benelli. It was first performed in Genoa. Later, he focused on teaching and became director of the Conservatorio Vincenzo Bellini in Palermo and then at his alma mater, the Conservatorio San Pietro a Maiella in Naples, where he taught until 1936.

In his later years, Cilea's eyesight worsened, but he remained active in supporting singers. He especially admired the soprano Magda Olivero, whose performances in Adriana Lecouvreur he greatly appreciated. Cilea died in Varazze, a town near Savona in Liguria, which honored him with citizenship. The Conservatorio di Musica and Teatro Comunale in Reggio di Calabria were renamed in his memory, and his hometown of Palmi built a mausoleum decorated with scenes from the myth of Orpheus.

Cilea married Donna Rosa Lavarello in Varazze on 26 June 1909.

Works

• Gina (February 1889, Teatro Conservatorio S. Pietro alla Majella, Naples)
• La Tilda (April 1892, Teatro Pagliano, Florence)
• L'Arlesiana (November 1897, Teatro Lirico, Milan) first revised in October 1898 (Milan), second revised in 1910, third revised in 1937
• Adriana Lecouvreur (November 1902, Teatro Lirico, Milan)
• Gloria (April 1907, Teatro alla Scala, Milan) revised in 1932

• Foglio d'album, Op. 41
• Gocce di rugiada
• L'arcolaio
• Melodia (F major)
• Symphonic Poem honoring Giuseppe Verdi
• Romanza (A major)
• Sonata for cello and piano in D major, Op. 38 (1888)
• Waltz in D flat major

• Romanza (text by Giuseppe Florio, 1883)
• Litania I (text from Litany of Loreto, 1887)
• Litania II (text from Litany of Loreto, 1887)
• Bionda larva (text by Enrico Golisciani, 1888)
• Serenata (L'aere imbruna) (text by Giuseppe Pessina)
• Il mio canto (text by Angelo Bignotti)
• Serenata (Mormorante di tenero desio) (text by P. Joe)
• Non ti voglio amar?… (text by Giuseppe Pessina, 1890)
• Alba novella (text by Leopoldo Marenco, 1897)
• Lontananza! (text by Romeo Carugati, I version 1904; II version 1944)
• Mazurka (text by A. Villa, 1904)
• Nel ridestarmi (text by Felice Soffrè, 1921)
• Vita breve (Una lettera) (text by Annie Vivanti, 1921–1923)
• Maria-Mare (text by Carmelo Pujia, 1933)
• Ninnananna popolare savoiarda (text transcribed by Giorgio Nataletti, 1934)
• Salute, o genti umane affaticate! (text by Giosuè Carducci, I version 1934; II version 1943)
• Dolce amor di Povertade (text by Anonymous, 1943)
• Statuit ei Dominus (text from Wisdom of Sirach – Bible, 1943)
• Tre vocalizzi da concerto (1928) I. Gaiezza II. Dolore III. Festosità
• Tre vocalizzi (1930) I. Voce Grave II. Voce Media III. Voce Acuta