 |
[email protected] |
 |
3275638434 |
 |
 |
| Paper Publishing WeChat |
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Sofia Mazar
Full-Text PDF
XML 417 Views
DOI:10.17265/2159-5542/2022.05.004
The Hebrew University of Jerusalem, Jerusalem, Israel
The purpose of this study is to identify the specifics of opera libretto in the context of intertextual relationships. The implementation of this goal involves the following tasks:
Determining the intertextual nature of the opera libretto;
Analyzing the structural laws of the text of the literary source and how they are transformed in the opera libretto.
Libretto as the phenomenon of musical culture requires a multidimensional knowledge of the modern humanities. This requires overcoming a highly specialized approach, be it musicological or literary, and a transition to a comprehensive cultural analysis. To solve the problems posed in the work, this study employs the following methods:
Integrative, enabling application of the knowledge gained through various sciences to the solution of the tasks posed in this study;
Comparative-historical, considering the development of libretto and nineteenth-century Italian opera libretti;
Analytic-interpretative, used in the analysis of the interpretations of the phenomenon of the intertextuality of the opera libretto;
Typological analysis, which enables identification of the inherent features of the opera libretto.
The synthetic structure of the operatic text has been studied in the framework of various branches of the humanities—musicology, literary criticism, theatrical studies. The issue of intertextuality of the opera libretto has not been considered until recently, as evidenced by the lack of special studies of this phenomenon of musical culture. The scientific novelty of the study is determined by its text-centric orientation. The experience of a comprehensive examination of previously separate texts (the original source and the opera libretto) leads to the discovery of a holistic phenomenon: a multi-level model of interpretation which indicates intertextuality as the main property of the libretto.
libretto, intertextuality, text,
opera
Psychology Research, May 2022, Vol. 12, No. 5, 244-252
Barthes, R. ([1964] 1967). Elements of semiology. (A. Lavers & C. Smith, Trans.). London: Cape.
Baudrillard, J. (1988). Selected writings. M. Poster, (Ed.). Cambridge: Polity Press.
Beniscelli, A. (2000). Felicita sognate: Il teatro di Metastasio. Genova: Il Melangolo.
Black, J. N. (1980). Cammarano’s notes for the staging of Lucia di Lammermoor. The Donizetti Society Journal, 4, 29-45.
Black, J. N. (1984). The Italian romantic libretto: A study of Salvadore Cammarano. Edinburgh: Edinburg University Press.
Brizi, B. (1973). Metrica e musica verbale nella poesia teatrale di Pietro Metastasio. Atti dell’Istituto Veneto di Scienze. Lettere ed Arti., CxxxI, 670-740.
Burt, N. (1955). Opera in arcadia. The Musical Quarterly, 41(2), 145-170.
Castel, N. (2000). Lucia di Lammermoor. In S. J. Wiley (Ed.), Italian Belcanto opera libretti in three volumes (Vol. I, pp. 209-267). Genesco, New York: Leyerle Publications.
D’Angelo, E. (2011). Lucia di Lammermoor. Il libretto e la memoria letteraria. La Fenice prima dell ‘Opera, 2, 27-44.
Donizetti, G. (1972). Dover opera guide and libretto series: Lucia di Lammermoor. (H. H. Bleiler, Trans.). New York: Dover Publications, Inc.
Garcia I(pere), M. (1824b). Exercises and method for singing. London: Boosey.
Garcia I(pere), M.(1824a). Exercises pour la Voix. Paris: A. Parite, c1820.
Goldin, F. D. (1986). Per una morfologia dell'aria metastasiana. In Metastasio e il mondo musicale. Studi di musica veneta (Vol. 9). Firenze: Olschi.
Gossett, P. (2006). Divas and scholars: Performing Italian opera. Chicago: The University of Chicago Press.
Jeuland-Meynaud, M. (1977). De l’Hernani de Victor Hugo a l’Ernani de Giuseppe Verdi. Cahiers d’Etudes Romanies, 3, 117-151.
Kerman, J. (1989). Opera as drama. London, Boston: Faber and Faber.
Kristeva, J. (1980). Word, dialogue and novel. In L. S. Roudiez (Ed.), Desire in language: A semiotic approach to literature and art (pp. 64-91). New York, NY: Colombia University Press.
Lotman, Y. (1977). The structure of the artistic text. In L. Matejka (Ed.), Michigan Slavic Contributions, 7 (pp. vii-300). (R. Vroon, Trans.). Michigan: University of Michigan.
Lutsker, P., & Susidko I. (Eds.). (2019). Proceeding of the International Academic Conference, November 11-15: Opera in Musical Theatre: History and Present Time. Moscow.
Manzoni, A. (2012). Tutte le Poesie, a cura di Luca Danzi, 51-118. Milano: BUR Rizzoli.
Marino, G. B. (1987). Rime Amorose. O. Besomi and A. Martini, (Eds.). Modena: Panini.
Maxwell, R. (2014). Scott in France. In M. Pitock (Ed.), The reception of Sir Walter Scott in Europe (pp. 11-30). New York: Bloomsbury Academic.
Money, C. J. (2016). The musical alternative of Donizetti’s Lucia di Lammermoor: An analysis and guide for performance practice (Doctoral dissertation, University of Northern Colorado, 2016).
Nicolodi, F. (1994). Sul lessico di Metastasio. Le forme e la prassi esecutiva. In F. Nicolode and P. Trovato (Eds.), Le parole della musica. Studi sulla lingua della letteratura metastasiana in onore di G. Folena (Vol. 1). Firenze: Olschki.
Reibel, E. (2011). Les derniers avatars musicaux du mythe de Faust. Revue de TheatreCoulisses, 43, 73-77.
Rorty, R. (1967). Objectivity, relativism and truth. Cambridge: Cambridge University Press.
Scott, W. (1826). La Promessa Sposa di Lammermoor, O Nuovi Racconti Del Mio Ostiere. (G. Barbieri, Trans.). Firenze: Tipografia Coen.
Varano, A. C. (1807). Dodici visioni sacre e morali. Stamperina del Majno: Piacenza.