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Opera narodowa w orbicie wpływów Wagnera na przykładzie Libuszy Bedřicha Smetany

100%
Andrzejewski M.
Aspekty Muzyki
|
2011
|
vol. 1
11-34
EN
The article focuses on the influence of Wagnerian ideas on the concept of 19th-century Czech national opera. This can be partly explained by the fact that Czech culture was strongly connected with German culture. However, early Czech operas, and even some of Smetana’s, were quite influenced by the German singspiel — a genre with predominantly lyrical and comic elements. Their national character was manifested mainly by folk elements within the action and the music (countryside scenery, national dances, adaptations of folk melodies). The ideal of this type of national opera is Smetana’s The Bartered Bride. The same composer created a work that presents a completely different understanding of the national style and opera. In Libuše, he tried to use the Wagnerian idea of musical drama for transforming the concept of the Czech national opera. In the article, there are quotations of the composer’s statements about Libuše as a work that has a “unique importance in our [Czech] history”. Wagner’s influences are apparent on a few levels in this operatic work. The libretto is based on the mythical story about Queen Libuše, the legendary founder of Prague, and in the opera she is a symbol of the Czech nation. Wagnerian influences are found in the formal structure (unendliche Melodie), as well as in the musical language of Libuše. Smetana used a system of leitmotifs consequently, connecting them with the characters (Libuše, Přemysl) and ideas (motifs of the nation, motif of authority). Perhaps it was under the influence of the idea of Bühnenfestpiel that Smetana designed Libuše as a slavnostni zpěvohra for special celebrations in the life of the Czech nation.
2
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Il mondo alla roversa, ovvero il potere delle donne nella Russia di Elisabetta Petrovna e Caterina II

84%
Korneeva T.
Italica Wratislaviensia
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2019
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issue 10.2
147–160
EN
The essay focuses on Carlo Goldoni’s musical drama Il mondo alla roversa put on stage in 1759 in Moscow by the company of Giovanni Battista Locatelli. In particular, it investigates the reasons why the impresario adapted this satirical and misogynist comic opera in his repertoire and the transformations that the libretto underwent to fit into the socio-political context governed by women rulers.
IT
Partendo dall’analisi delle modifiche occorse nel libretto de Il mondo alla roversa di Carlo Goldoni, allestito nel 1759 a Mosca dalla compagnia di Giovanni Battista Locatelli, si studiano le ragioni che hanno spinto l’impresario ad accogliere quest’opera nel proprio repertorio. Inoltre il saggio riflette sulla risemantizzazione a cui questo dramma giocoso dalle venature misogine è stato soggetto in un contesto in cui la gestione del potere da parte delle donne rappresentava un concreto scenario politico.
3

Symboliczne wcielenia Oskara Kokoschki - Tristan

34%
Długosz M.
Roczniki Humanistyczne
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2013
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vol. 61
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issue 4: Historia Sztuki
159-203
EN
From the very beginning of his artistic career Oskar Kokoschka systematically used historical, literary and mythological persons, whose figures, being recognizable in culture, facilitated the expression of his own psychological states and life experiences. The young painter, familiar with the classic works of literature, was also fascinated by music. One of his most vivid musical memories mentioned in an interview after more than half a century, was connected with his visits at the Vienna opera horse where he hare heard concerts directed by Gustav Mahler. A an especially enduring memory was that of the performance of R. Wagner’s drama Tristan und Isolde. From that time on the story of the mythical couple of lovers dominated the artist’s imagination, and after his meeting with Gustav's widow, Alma Mahler, he was able to assume a personified figure involving all the three people. As a result Kokoschka and Alma's love affair was supposed to develop according to the historical and mythical scenario of the medieval, and originally Celtic, saga. The artist first played the role of a life-guardsman seeking the favor of the patron of the Vienna cultural elite, and also seeking the hand of the inaccessible „queen” left by the dead director, „the old king”. Having won her acceptance the painter was able to be in her good graces for some time as her lover. However, a tragic turnabout, and at the same time the end of the relation, was inevitably inscribed in the process, in which the „young pretender” Kokoschka, having entered the role of the king, next had to give way to the next candidate. Stages of this symbolic process can be seen in Kokoschka’s letters as well as in his literary and visual works from the period of his relationship with Alma Mahler in the years 1912-1915, when one compares the facts from the protagonists’ lives with, among others, the medieval versions of the Tristan legend and its version composed by Wagner.
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