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L’Amadigi di Gaula di Händel: soggetto spagnolo, drammaturgia francese e opera italiana sulle scene inglesi

    1. [1] University of Fribourg

      University of Fribourg

      Friburgo, Suiza

  • Localización: Historias Fingidas, ISSN-e 2284-2667, Nº. 5, 2017, págs. 145-165
  • Idioma: italiano
  • Títulos paralelos:
    • Händel's Amadigi di Gaula: Spanish subject, French dramaturgy and Italian opera on English scenes
  • Enlaces
  • Resumen
    • italiano

      Nell’opera di Händel Amadigi di Gaula (1715) si combinano elementi di diverse culture europee: un soggetto spagnolo ricavato dal romanzo cavalleresco Amadís de Gaula di Montalvo; un impianto dram-maturgico francese, basato sull’opera Amadis de Grèce di La Motte; un genere teatrale italiano, concepito per il pubblico inglese. Oltre a illustrare alcuni effetti di tale sinergia di elementi (narrativi, spettacolari, estetici), nel contributo si discutono le opere seicentesche basate sul romanzo spagnolo, l’assenza del soggetto nella produzione operistica italiana, e la scelta del libretto francese come testo fonte di Amadigi. Infine, analizzando le modifiche apportate alle sezioni chiave dell’opera francese, i divertissements, nell’opera italiana, si riflette sulle peculiarità delle relative poetiche drammaturgiche. Handel’s opera Amadigi di Gaula (1715) combines elements of various European cultures: a Spanish subject derived from the chivalric novel Amadís de Gaula by Montalvo; a French dramaturgy, based on La Motte’s Amadis de Grèce; an Italian theatrical genre, conceived for the English audience. In addition to showing some of the effects of this synergy of elements (narrative, spectacular, aesthetic), this paper discusses the seventeenth-century operas based on the Spanish novel, the absence of the subject in Italian opera production, and the choice of the French libretto as source text for Amadigi. Finally, analysing the changes made to the key sections of the French opera (divertissements) in the Italian one, the article reflects on the peculiarities of the two dramatic poetics. 

    • English

      Handel’s opera Amadigi di Gaula (1715) combines elements of various European cultures: a Spanish subject derived from the chivalric novel Amadís de Gaula by Montalvo; a French dramaturgy, based on La Motte’s Amadis de Grèce; an Italian theatrical genre, conceived for the English audience. In addition to showing some of the effects of this synergy of elements (narrative, spectacular, aesthetic), this paper discusses the seventeenth-century operas based on the Spanish novel, the absence of the subject in Italian opera production, and the choice of the French libretto as source text for Amadigi. Finally, analysing the changes made to the key sections of the French opera (divertissements) in the Italian one, the article reflects on the peculiarities of the two dramatic poetics. 


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