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Verdi's Theater: Creating Drama through Music
by Gilles de Van
translated by Gilda Roberts
University of Chicago Press, 1998
Cloth: 978-0-226-14369-9 | Paper: 978-0-226-14370-5
Library of Congress Classification ML410.V4V2313 1998
Dewey Decimal Classification 782.1092

ABOUT THIS BOOK | TOC
ABOUT THIS BOOK
In this innovative study, Gilles de Van focuses on an often neglected aspect of Verdi's operas: their effectiveness as theater. De Van argues that two main aesthetic conceptions underlie all of Verdi's works: that of the "melodrama" and the "musical drama." In the melodrama the composer relies mainly on dramatic intensity and the rhythm linking various stages of the plot, using exemplary characters and situations. But in the musical drama reality begins to blur, the musical forms lose their excessively neat patterns, and doubt and ambiguity undermine characters and situations, reflecting the crisis of character typical of modernity.

Although melodrama tends to dominate Verdi's early work and musical drama his later, both aesthetics are woven into all his operas: musical drama is already present in Ernani (1844), and melodrama is still present in Otello (1887). Indeed, much of the interest and originality of Verdi's operas lies in his adherence to both these contradictory systems, allowing the composer/dramatist to be simultaneously classical and modern, traditionalist and innovator.

See other books on: 1813-1901 | Dramaturgy | Opera | Operas | Verdi, Giuseppe
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