Verdi's Theater: Creating Drama Through MusicUniversity of Chicago Press, 1998 M09 15 - 424 páginas In this innovative study, Gilles de Van focuses on an often neglected aspect of Verdi's operas: their effectiveness as theater. De Van argues that two main aesthetic conceptions underlie all of Verdi's works: that of the "melodrama" and the "musical drama." In the melodrama the composer relies mainly on dramatic intensity and the rhythm linking various stages of the plot, using exemplary characters and situations. But in the musical drama reality begins to blur, the musical forms lose their excessively neat patterns, and doubt and ambiguity undermine characters and situations, reflecting the crisis of character typical of modernity. Although melodrama tends to dominate Verdi's early work and musical drama his later, both aesthetics are woven into all his operas: musical drama is already present in Ernani (1844), and melodrama is still present in Otello (1887). Indeed, much of the interest and originality of Verdi's operas lies in his adherence to both these contradictory systems, allowing the composer/dramatist to be simultaneously classical and modern, traditionalist and innovator. |
Contenido
Verdi Dramatist I | 11 |
CHAPTER | 24 |
CHAPTER THREE | 61 |
CHAPTER FIVE | 146 |
1 | 215 |
CHAPTER SEVEN | 264 |
CHAPTER EIGHT | 309 |
Conclusion | 337 |
Glossary | 345 |
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Términos y frases comunes
Abbiati action aesthetics Aida Amneris aria Atti Attila ballo in maschera Bellini Boito bottega della musica cabaletta Carteggi verdiani cavatina character chorus composer composer's Conati concertato contrast Copialettere curse daughter death Don Carlos dramatic dramaturgy due Foscari duet emotional ensemble Ernani example fact Falstaff father Finale forza del destino French genre Germont gesture Giuseppe Giuseppe Verdi give hero heroine Iago Il trovatore Italian judge King La traviata Leonora librettist libretto linked Luisa Miller lyrical Macbeth major Manrico masnadieri melodic melodrama Milan minor moral movement Nabucco Oberto opera orchestra Otello Paris passion phrase Piave play plot political Radames recitative rhythm Riccardo Rigoletto role Romantic romanza Rossini scena scene Simon Boccanegra singing situation song stage Stiffelio Stretta structure Studi Verdiani style tempo theater theme tion tonal traditional traviata trio trovatore tyrant Vêpres Verdi-Boito Correspondence Verdi's Violetta vocal voice words