PL EN


2016 | 65 | 1-2(257-258) | 194-208
Article title

Konwencja lieto fine w Ifigenii w Taurydzie Glucka

Authors
Title variants
EN
The Lieto Fine Convention in Gluck’s Iphigénie en Tauride
Languages of publication
Abstracts
EN
The convention of the happy ending in opera librettos, which had reined supreme virtually since the beginnings of the genre until the rise of grand opera, was a result of theoretical reflection as much as of the preferences of the audiences. There was virtually no story (the most popular Biblical, mythological, historical and literary motifs included) that a skillful librettist could not conclude with an elegant lieto fine. Translators of certain dramatic texts, as in the case of Hamlet in its French (by Jean-François Ducis, Alexandre Dumas the Father, Paul Meurice), German (by Friedrich Ludwig Schröder) or Polish (by Wojciech Bogusławski) renditions, proceeded in the same manner. Christoph Willibald Gluck composed two operas about Agamemnon’s daughter as the main heroine, i.e. Iphigénie en Aulide (1774) and Iphigénie en Tauride (1779). Both were premiered by the Parisian Académie Royale de Musique. Through references to the successive stage embodiments of Iphigenia (by Euripides, Racine, Du Roullet, Guillard) and taking into account the operatic context of earlier works by Jommelli, Traetta, Campra, and Desmarets, we can see how Gluck combined the key premises of his opera reform with the tradition of lieto fine, which the audiences of Paris and Vienna had come to expect. The esthetic of Iphigénie en Tauride garnered much praise from representatives of the Sturm und Drang generation as well.
Year
Volume
65
Issue
Pages
194-208
Physical description
Contributors
author
  • Uniwersytet Marii Curie-Skłodowskiej w Lublinie
References
  • S. Münch, Colorito sacro. Wątki biblijne w operze XVIII I XIX wieku, „Ethos” 2011 nr 1–2.
  • S. Münch, Między cudownością a mimesis. W kręgu niemieckich dyskusji operowych XVIII wieku, [w:] idem, Uśmiech anioła. Pogranicza muzyki, malarstwa i literatury, Lublin 2012.
  • E. Obniska, Claudio Monteverdi. Życie i twórczość, Gdańsk 1993.
  • A. Szweykowska, Dramma per musica w teatrze Wazów 1635–1648, Kraków 1976.
  • Ph. Van Tiegh, Główne doktryny literackie we Francji, przekł. M. Wodzyńska, E. Maszewska, Warszawa 1973.
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.desklight-825424a8-d819-4392-b670-814ab27c2106
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