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  1. 2 Kwartalnik Młodych Muzykologów UJ

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  1. 2 Czemerys A.

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  1. 2 2020

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Historia zaklęta w dźwięki – weryzm historyczny w I Medici Ruggera Leoncavalla

100%
Czemerys A.
Kwartalnik Młodych Muzykologów UJ
|
2020
|
issue 4(47)
141-156
EN
My consideration of the historical opera I Medici is based on the analysis of the piece’s dramaturgy. In my opinion, libretto is a key to understanding any operatic dramas; it constitutes their primary foundation on which subsequent semantic layers of this naturally syncretic musical genre are being formed. Therefore, in my paper I have analysed individual components of the libretto, with a special emphasis placed on the characters, their personality traits as well as their musical representation in Leoncavallo’s work. Analytical operations concerning dramaturgic aspects of the opera are an essential first step in consideration of the musical layer, which lies at the heart of my research. In my paper, I follow the path marked out by a musicologist Luca Zoppelli; however, his work is only a starting point for a more detailed study of the opera’s expression and the procedures used in musical representation of veristic ideas. Verity – not only in historical sense – becomes a leading category which unifies the opera at every level: from its original source recorded in the chronicles to composer’s embodiment of the story.
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History Enchanted in Music – Historical Verism in Ruggero Leoncavallo’s I Medici

100%
Czemerys A.
Kwartalnik Młodych Muzykologów UJ
|
2020
|
issue 4(47) ENG
139-155
EN
My study of the historical opera I Medici focuses on an analysis of the work’s dramaturgy. In my opinion, the libretto is the key to understanding operatic dramas; it constitutes their primary foundation, on which the subsequent semantic layers of this naturally syncretic musical genre are constructed. In my paper I have therefore analysed the individual components of the libretto, with special emphasis on the persons of the drama, their personality traits, as well as their musical representations in Leoncavallo’s work. Analysis of the dramaturgical aspects of the opera is an essential first step to a consideration of the musical layer, which lies at the heart of my research. In my paper, I have followed the path mapped out by musicologist Luca Zoppelli; however, his work is only the starting point for a more detailed study of the opera’s expressive qualities and the procedures applied for the musical representation of veristic ideas. Verity – not only in the historical sense – becomes a leading category which unifies the opera at every level, from its original source recorded in the chronicles to the composer’s presentation of the story.
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