/veuh riz"moh/; It. /ve rddeez"maw/, n.
the use of everyday life and actions in artistic works: introduced into opera in the early 1900s in reaction to contemporary conventions, which were seen as artificial and untruthful.
[1905-10; < It: realism, equiv. to ver(o) true ( < L verus) + -ismo -ISM]

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      (Italian: “realism”), literary realism as it developed in Italy in the late 19th and early 20th centuries. Its primary exponents were the Sicilian novelists Luigi Capuana (Capuana, Luigi) and Giovanni Verga (Verga, Giovanni). The realist movement arose in Europe after the French Revolution and the realist influence reached Capuana and Verga particularly through the writings of Balzac and Zola in France and of the scapigliatura milanese (see scapigliatura, “Milanese bohemianism”) group in Italy. Verismo's overriding aim was the objective presentation of life, usually of the lower classes, using direct, unadorned language, explicit descriptive detail, and realistic dialogue.

      Capuana initiated the movement with the short stories Profili di donne (1877; “Studies of Women”) and the novel Giacinta (1879) and other psychologically oriented, clinically rendered works, which were objective almost to the point of excising human emotion. Works by his friend Verga, of which the best-known are I malavoglia (1881; The House by the Medlar Tree, 1953) and Mastro-don Gesualdo (1889), described with more emotional warmth the dismal conditions in early 19th-century Sicily.

      Like Capuana and Verga, most other veristi described the life they knew best, that of their native towns or regions. Thus the best of the minor writers of the movement were regionalists: the Neapolitan novelist Matilde Serao, the Tuscan Renato Fucini, and Grazia Deledda, the novelist of southern Italy who received the Nobel Prize for Literature in 1926.

      Verismo faded from the scene in the 1920s but emerged after World War II in a new and explosively vital form, neorealismo (Neorealism).

▪ Italian opera

      a style of Italian opera writing that flourished in the last decade of the 19th century.

      Based on the slightly earlier Italian literary verismo, which was itself influenced by French naturalism, operatic verismo was marked by melodramatic, often violent plots with characters drawn from everyday life. Musical devices included passionate declamation by solo voices and emotionally charged harmonies and melodies. The leading exponents were Pietro Mascagni (Mascagni, Pietro) (Cavalleria rusticana, 1890; Rustic Chivalry) and Ruggero Leoncavallo (Leoncavallo, Ruggero) (Pagliacci, 1892; The Clowns). Another example is Umberto Giordano (Giordano, Umberto)'s Andrea Chénier (1896). Giacomo Puccini (Puccini, Giacomo) was influenced by verismo, particularly in Tosca (1900), and occasional veristic operas were written in the 20th century—e.g., Ermanno Wolf-Ferrari (Wolf-Ferrari, Ermanno)'s I gioielli della Madonna (1911; The Jewels of the Madonna).

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Universalium. 2010.

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