"Mascagni’s starched collars, the various ways he wore his lion’s mane, all styled in his name. Short, in the Piccadilly style, aroused a type of subliminal emotion. Women of all ages went crazy for the Leghorn maestro. Even today, women, who are by now old and fulfilled by their grandchildren tell about the times when their old mothers watched attentively over their Mascagnian enthusiasm. They looked after the maniacal need to know everything about him and even to go so far as to write him secretly in hopes of having his photographs". (Giulio Gonfalonieri)

Mascagni was well-built. He had a full head of thick, wavy hair. He spoke in an open manner and his penetrating gaze revealed a fascinating personality. He was never out of touch with the times regarding men’s fashion. Yet, he was very masculine. So it was only natural that Mascagni, throughout his life, broke many female hearts.
With a boldness, that is to say the least incredible, Mascagni assured his wife of his fidelity by using an infallible weapon; the total destruction of any possible rival.

To get a clear picture of the situation, it’s enough to read the opinion given by the soprano, Nellie Melba. She is a mummy, a puppet. In fact, there were rumours about a possible, but short, relationship between the composer and the singer who in 1893 in London, at Covent Garden, interpreted the opera I Rantzau directed by the author.

The name Melba often went around the Mascagni family and was at the centre of a very important event. Mascagni was staying in a hotel with his wife, Lina, his daughter, Emy and his grandson, Piermarcello known as Bubi. At lunch time the two women went ahead of the musician to the dining room. Bubi, who had a sweet tooth, like his grandfather, starting looking over the dessert menu. The waiter answered, “For ice cream, we have the Melba Cup”. Upon hearing this, Lina added, “Bubi, it’s called the Melba Cup after your grandfather’s whore”. Shortly thereafter, Mascagni arrived at table and immediately asked for the dessert menu. Bubi hurried to explain to his grandfather that for ice cream there was only the Annuccia Cup. Many years later his grandson, Piermarcello remembers the two strong kicks his grandparents gave him under the table.

Annuccia was not a lover, but rather "The Lover".
Lina never allowed herself to be deceived because she knew her Pietro. She, however, could not do anything about Anna Lolli. Anna Lolli was the love of Mascagni’s life from 1910 until his death in 1945. Mascagni divided himself between his family and his lover for a period of 35 years. When Mascagni first met Anna in 1910, she was twenty-two and he was forty-seven.




 

ANNA LOLLI (1888-1973)
Mascagni had a weakness for the Emilia Romagna region. Lina came from Parma and Anna Lolli was originally from Bagnara di Romagna. Anna Lolli was a fascinating chorus singer with a beautiful voice. Maestro once said of her, “She’s beautiful, kind with a peaceful face… her lips are full and sensual, two big, green eyes, really wonderful”.

A small museum in a secluded corner of the vicarage in Bagnara di Romagna houses a priceless collection of almost five thousand letters that testify to Mascagni’s undying affection for Anna Lolli.

For thirty-five years, Mascagni had two families, each knowing about the existence of the other. Annucia was a very discrete woman. She moved to Rome so she could stay closer to Mascagni who led a very lonely life. She lived only for a visit or a letter from Mascagni. Lolli proved to be a very wise counsellor for him.

She was there to listen his outbursts of anger and to his doubts and uncertainties. She was there to help him in his moments of difficulty. Mascagni never missed a chance to express his heart’s feelings, the same passion, tenderness and strength that we can find in his operas.

Anna Lolli succeeded in living with him only during the preparation of Parisina, i.e. from July to December of 1912, together with Gabriele D’Annuzio and Mascagni’s daughter Emy. Emy helped her father hide his love affair from Lina. Mascagni dedicated his operas Isabeau and Parisina to Anna Lolli.