1,721,103 research outputs found
Esperienze di un editore di melodrammi
No full textThe critical edition of an opera has to tackle problems partially unknown to the literary text criticism. Such issues derive primarily from the multilayered character of the operatic text, which is made of words, sounds, scenery, stage action, transmitted from sources of different sorts (scores, librettos, stage arrangements, set design sketches). Secondly, problems arise from the nature of musical and theatrical languages: the written text is not an end in itself, but a premise to the properly artistic event, the performance. The critical editing of an opera must be concerned not only to reconstruct an “authentic” text, that is a text in accordance with the author’s thought, but also to how the same text can be used by today’s performers in order to arrange different stagings.
The author illustrates these issues with examples from 19th-century operas edited by him—Rossini’s Adina and Bellini’s I Puritani—which have already passed the scrutiny of the performance
"Der Dichter spricht...". La voce del poeta nel 'Torquato Tasso' di Donizetti
No full textBetween the eighteenth and nineteenth centuries many literary, figurative, and musical works took inspiration from the lives of celebrated ancient and modern artists. In particular, the unhappy events in the life of Torquato Tasso were of the greatest appeal; the author of Aminta and La Gerusalemme liberata became an emblem of the romantic artist, constantly in conflict with the surrounding world. Among these works, Ferretti’s and Donizetti’s melodramma semiserio Torquato Tasso (1833) is unique in the fact that the authors let the character Tasso to deliver poetic fragments extracted from the works of the real Tasso, interspersed throughout the dramatic dialogue. This device is aimed to outline the portrait of the hero in his complex relationship with the courtly society, and to show the poet in the very act of creating; it is highlighted both in the libretto (by the use of italics) and in the music: citations appear only in recitative sections, within which some of them are emphasized by the use of the arioso singing. The essay shows how this calculated use of literary and musical devices generates a multi-layered game of mirrors. Through it one can listen, as in perspective, different voices: that of the character; that of the real poet, or rather of the image the posterity has constructed of him. Lastly, the voice of the opera’s authors, who use Tasso’s poetry in order to express their concerns about of the Italian literary and musical tradition, in a historical juncture in which its identity is being challenged
Musica e società, 2. Dal 1640 al 1830, a cura di Paolo Fabbri, Alessandro Roccatagliati e Paolo Russo; e volume 3. Dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri
No full textMusica e Storia is a project for a textbook, conceived and supervised by Paolo Fabbri. The second volume consists of six chapters and addresses the period between 1640, which marks the rise of public opera theatre, and 1830, when the Romantic sensibility had become established. The third volume spans the period from 1830 to today, and includes two parts, dedicated to the years before and after the watershed date of 1920. The first volume has already been examined by Dinko Fabris in this periodical (III, 2013, pp. 139-142)
Idea-Text-Performance. Can this triad still be considered a valid foundation for music?
Full text linkEnglish version of "Idea, Testo, Esecuzione" (2010)
Giuseppe Verdi, La traviata. Schizzi e abbozzi autografi/Autograph sketches and drafts
No full textRiproduzione in facsimile (72 + 6 pp.), Introduzione e trascrizione (pp. 222), Commento critico Commentary (pp. 185)
Re Duncano va a morire. Un itinerario rivoluzionario da Shakespeare a Verdi
No full textAnalizza una scena (I 3) del Macbeth di Verdi. L'impiego di una marcia in 6/8 con carattere di danza campestre si ricollega a una tradizione francese che va dall'opéra-comique alla musca militare. L'impiego di tali musiche per accompagnare le esecuzioni capitali durante la Rivoluzione francese, in particolare quella di Luigi XVI, chiarisce il significato che Verdi voleva conferire a tale scena
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