Classifier Instance:

Anchor text: Ernest Newman
Target Entity: Ernest_Newman
Preceding Context: The critics gave the work a generally kinder reception in London, where The Times called Puccini "a master in the art of poignant expression", and praised the "wonderful skill and sustained power" of the music. In The Musical Times, Puccini's score was admired for its sincerity and "strength of utterance." However, after the 1903 Paris opening, the composer Paul Dukas thought the work lacked cohesion and style, while Gabriel Fauré was offended by "disconcerting vulgarities". More recently the musicologist Joseph Kerman described Tosca as a "shabby little shocker", while the composer Benjamin Britten declared that he was "sickened by the cheapness and emptiness" of Puccini's music. Veteran critic
Succeeding Context: , while acknowledging the "enormously difficult business of boiling [Sardou's] play down for operatic purposes," writes that the subtleties of Sardou's original plot are handled "very lamely", so that "much of what happens, and why, is unintelligible to the spectator". Overall, however, Newman delivers a more positive judgement: "[Puccini's] operas are to some extent a mere bundle of tricks, but no one else has performed the same tricks nearly as well". Opera scholar Julian Budden remarks on Puccini's "inept handling of the political element", but still hails the work as "a triumph of pure theatre". Music critic Charles Osborne ascribes Toscas immense popularity with audiences to the taut effectiveness of its melodramatic plot, the opportunities given to its three leading characters to shine vocally and dramatically, and the presence of two great arias in "Vissi d'arte" and "E lucevan le stelle". The work remains popular today; it was the second-most performed opera in North America in 2008/2009, surpassed only by Puccini's La bohème.
Paragraph Title: Critical reception
Source Page: Tosca

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