Franco Alfano by Teatro Grattacielo in the fall of 2013. In "Fanfare" 's issue of September/October 1998-99, it was asserted that Alfano's reputation suffers because of several things. Firstly, that he should not be judged as a composer on the basis of the task he was given in completing "Turandot" (La Scala, 25 April 1926). Secondly, that we almost never hear everything he wrote for "Turandot" since the standard ending heavily edits Alfano's work. Thirdly, [...]it is not his conclusion that is performed in productions of "Turandot" but only what the premiere conductor Arturo Toscanini included from it... Puccini had worked for
Giacomo Puccini selective, and at times indecisive, in his choice of subject matter for new works. Puccini was deeply involved in the process of writing the libretto itself, requiring many iterative revisions of his libretti in terms of both structure and text. Puccini's relationships with his librettists were at times very difficult. His publisher, Casa Ricordi, was frequently required to mediate disputes and impasses between them. Puccini explored many possible subjects that he ultimately rejected only after a significant amount of effort—such as the creation of a libretto—had been put into them. Among the subjects that Puccini seriously considered, but abandoned, were: