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Ruthless polyphony and audible silences : musico-dramatic narrative in Otakar Zich's Vina

100%
Locke B. S.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2020
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vol. 23
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issue 1
62-80
EN
Otakar Zich's opera Vina [Guilt] met with contentious criticism at its premiere in 1922. Nevertheless, its score demonstrates many of the concepts of musico-dramatic narrative outlined in his seminal text, The Aesthetics of Dramatic Art, specifically that of multivocality – the multiple modes of communication perceived through time in continuous unfolding. Vina also employs concepts of silence and sound that resonate with Vladimir Jankélévitch's Music and the Ineffable.
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Konwencja lieto fine w Ifigenii w Taurydzie Glucka

100%
Münch S.
Pamiętnik Teatralny
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2016
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vol. 65
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issue 1-2(257-258)
194-208
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.
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