Gabriele d’Annunzio’s relationship with music may be considered under two points of view: firstly, his musical tastes, that is his Wagnerism and, later, his anti-Wagnerism and his envisioning of a ‘Latin musical drama’; secondly, the use of his poems in chamber vocal music and particularly in romanzas. An overall analysis of d’Annunzio’s texts for music shows how, depending on the composer with whom he cooperated, his texts are alternatively conservative, up-to-date or avant-gardist. A full transcription of d’Annunzio’s autograph version of his libretto for Alberto Franchetti’s La figlia di Iorio (The daughter of Iorio), containing the outline of the first act and a draft of the first and the third act, offers a glimpse on the stages of elaboration of his tragedy.