Libretto studies

Tekst dotyczy teoretycznych dyskusji na temat libretta. Długo nie cieszyło się ono zainteresowaniem badaczy. Stwierdzenia, że jest to niepełny, niewartościowy twór ni to literacki, ni to muzyczny można znaleźć w poważnych opracowaniach jeszcze w latach sześćdziesiątych dwudziestego wieku, choć i obecnie nie brak głosów utyskujących na wartość literacką librett. Postrzeganie libretta jako utworu równorzędnego z dramatem jest zasługą refleksji naukowej uprawianej od lat siedemdziesiątych – w tekście podsumowane zostały najnowsze badania z zakresu librettologii.

The Janitor — what is it?  Well, it is not about religion, politics, socio-economics, or the newest world order… it is about the universal concepts of love and the intersection of music, science, poetry/literature.  This is a comic opera as we watch two people overcome their jobs, bosses, temptation, and lots of people who ‘think they know’ in order to engage in the simplest of actions.  Along the way we’ll upend everything from our views of Creation and the Universe, to the Scholars who try to explain it to us, and even the most beloved of Fairy Tales and Airline safety as the Janitor takes us on a universal and personal odyssey - with some inspiration from Kurt Vonnegut.  This comic opera premiered in September 2019 at the El Camino College Campus Theater, Torrance, California.

The article concerns the issue of operas by Puccini in the context of nineteenth-century (romantic and later) concepts and theoretical approaches to the pathos considered as an aesthetic concept. In the first part of the article aforementioned concepts were reconstructed, on the basis of reflection, among others, of Aubin-Louis Millin de Grandmaison, Peter Lichtenthal, and George Harris, including the characteristics of pathos emerging from these theoretical descriptions. In the second part three selected scenes from Tosca and Madama Butterfly were analyzed to investigate the musical means by which composer realizes the features of musical pathos.

El 9 de julio de 1845 se cantaron en el Teatro Circo de Madrid los cinco primeros números de la ópera Padilla o el asedio de Medina, con libreto de Gregorio Romero Larrañaga y música de Joaquín Espín y Guillén. Esta fue la primera y única ocasión en la que se representó. Hasta 2017, fecha en la que se le daba por extraviada, la única fuente localizada en un archivo píblico relativa a esta obra era un folleto que se imprimió para esta primera y única representación, conservado en la Biblioteca Nacional de España. La reciente localización del libreto completo en el Archivo Miguel Salvador Carreras, conservado en la biblioteca del Instituto de Estudios Riojanos, nos permite avanzar de forma notable en el conocimiento de esta ópera. Lo que aquí proponemos es un análisis textual del libreto que escribió Romero Larrañaga que toma en consideración los modelos ofrecidos por la dramaturgia de la ópera italiana contemporánea y su relación con la cultura política del progresismo español en los inicios del Estado liberal. Abordamos la cuestión de la adecuación del texto castellano a la dramaturgia del melodrama de tradición italiana y analizamos la construcción de los personajes destacando la relación semántica del vocabulario utilizado por Romero Larrañaga con el vocabulario político propio del progresismo decimonónico. En anexo, brindamos la edición del libreto castellano de Padilla o el asedio de Medina.

All the plays of Schiller have inspired operatic adaptation. The author examines the extent of Schiller's direct influence on music theatre, focusing on the letters of Verdi and his librettist Cammarano, and what they reveal about adapting 'Kabale und Liebe' for the opera 'Luisa Miller', as well as issues of censorship in 1840's Italy.

Текст диссертации кандидата искусствоведения (1999) публикуется как часть коллективной монографии, посвященной двум классическим русским операм — «Каменному гостю» А. С. Даргомыжского и «Золотому петушку» Н. А. Римского-Корсакова.  Автором предпринято комплексное исследование последней оперы Римского-Корсакова в аспектах истории создания, либретто, основанного на «Сказке о золотом петушке» А. С. Пушкина, других литературных и музыкальных источников, жанра, стиля, музыкальной драматургии и формы. 2-е, исправленное издание (первая публикация - Санкт-Петербург, 1998) / The dissertation of the PhD (candidate in Art History,1999) is published as part of a collective monograph dedicated to two classical Russian operas — “The Stone Guest” by A. Dargomyzhsky and “The Golden Cockerel” by N. Rimsky-Korsakov. The author undertook a comprehensive study of Rimsky-Korsakov's last opera in terms of history of its creation, the libretto based on A. Pushkin's “The Tale of the Golden Cockerel” and other literary and musical sources, genre, style, musical dramaturgy, and form. 2nd revised edition (first published in St. Petersburg, 1998)

This is a short paper sketches out very briefly Wagner's transition from traditional operatic texts with rhymes and metre to the unique "Stabreim" poetry he created for the "Ring". The paper originated as a "pop-up talk" I presented at the "Insights: Discover the Ring" event at the Royal Opera House, London, on 14 October 2018.

Part One; Verismo in ltalian Opera: A Historical Perspective, provides an overview of Italian operatic activity between the years 1890 and 1930 inclusive and is subdivided into four chapters which follow a roughly chronological sequence.

Chapter One, Cavalleria and the Preceding Decade, covers the period 1880 to 1890 and describes the fortunes of the two principal music publishers, Ricordi and Sonzogno. The first and second Sonzogno competitions are outlined in detail together with their importance in stimulating interest within the ranks of the younger Italian composers, leading eventually to the appearance of Pietro Mascagni’s pioneering work, Cavalleria rusticana. Contemporary critical reaction to the opera is chronicled and the reasons for its success fully analysed (two interesting precursors, Mariska and Mala Pasqua! are also described).

Chapter Two, Towards a Definition of verismo, shows the extent of the gulf between literary and operatic realism and examines contemporary attitudes to the question. The lack of any artistic manifesto for the movement is attributed to the unwillingness or even inability of its main practitioners (both composers and librettists) to formulate one, despite isolated attempts such as the Pagliacci prologue. Ultimately any definition must take into account the evidence of the libretti themselves together with the influence of contemporary literary trends and the artistic proclivities of individual librettists and the remainder of the chapter examines these factors in some detail, arriving at a final profile of a typical verista opera of the Cavalleria mould to which we may apply the generic term verismo puro.

Chapter Three, Growth and Consolidation: 1890-96, demonstrates the extent to which Sonzogno capitalized on the immense success of Cavalleria and chronicles the methods used to promote verismo puro as a viable operatic commodity. A chronological profile of the principal composers and works of the giovane scuola is accompanied by an account of the Ricordi-Sonzogno rivalry and the chapter concludes with an examination of the various factors which led to a temporary abatement in verismo puro opera production.

Chapter Four, Diversification and Decline: 1897-1920, describes how verismo puro, despite being fragmented into a series of closely allied genres (each of which is examined and commented upon), enjoyed several revivals in the first two decades of the twentieth century, none of which could arrest the downward trend in the fortunes of Casa Sonzogno. The eventual demise of the movement (circa 1918) is therefore due as much to insufficient editorial promotion as to the changing tastes of post-war Italian. audiences.

Part Two, Verismo Puro: A Structural Analysis, outlines in four chapters the basic framework of a typical libretto of the genre. The introduction presents a cross-section of twelve works which will be extensively analysed and commented upon in the ensuing discussion, giving reasons for their choice together with short plot summaries.

Chapter One, Character Patterns, shows how the prevailing ethos of verismo puro can be interpreted in a Durkheimian light and isolates three main character-types: the Rebel, the Traditionalist and the Victim, each of which is examined both individually and collectively within the context of the sample operas. The concept of a "central core" consisting of these three figures is introduced and a model of dramatic development proposed in which a tripartite progression from Characters through Contracts to Conflicts provides the mainspring of the on-stage action (expressed otherwise, the “central core" of Rebel-Traditionalist-Victim is held together by a complex web of contractual obligations which, when broken, form the basis for immediate conflict).

Chapter Two, Contractual Patterns, examines the various kinds of agreements made between the Rebel, Traditionalist and Victim and classifies them under two main headings: Moral and Legal Obligations (these are once again defined in Durkheimian terms). The labels Primary and Secondary are then used to describe the narrative importance of such contractual obligations (broadly speaking Primaries occur on-stage, Secondaries off-stage). Three phases in contract development are isolated: lnitiations, Breaks and Reinforcements, with each permutation (e.g. Primary Contract Reinforcements of the Moral variety) being fully analysed with reference to the sample operas.

Chapter Three, Conflict Patterns, demonstrates how the breaking of contractual obligations eventually leads to acts of violence which both expiate the crime committed and restore social equilibrium. Three types of conflict are described (Mental, Verbal and Physical); these form various Primary and Secondary combinations which are then annotated and documented. One major conclusion arrived at concerns the relative importance of violence in verismo puro, which is shown to have been grossly exaggerated by previous commentators.

Chapter Four, Dramatic Structure, brings together the constituent elements of the genre (namely Characters, Contracts and Conflicts) and shows how these coalesce into one dramatic entity within the libretto. A linear approach is adopted; the sample works are first analysed following the traditional Exposition-Development-Climax model which is further refined by the addition of what are termed Subsidiary Forces (Catalysts, Stabilizers, Divine, Societal / Environmental, Mental and Miscellaneous Forces; these are given either a Positive or Negative polarity depending on whether they decrease or increase tension within the libretto). Each sample opera is now graphically depicted as a series of interactive structural devices whose cumulative dramatic effect can be precisely measured. The outcome of such an analysis is to show a remarkable degree of similarity in both narrative techniques and dramatic intensity between otherwise dissimilar works.

(NB Part Three is currently being revised and will appear in Academia once this revision is completed)

Part Three, Italian Opera Production, 1890-1920: A Statistical Survey contains details of all performed and unperformed Italian operas (i.e. those set to original Italian libretti by both Italian and foreign composers and librettists either staged or completed during the period 1 January 1890 to 31 December 1920 (almost 900 works in all). Data has been tabulated by computer under the following headings (full details of each are to be found in Part Three, together with a more extensive summary of the overall aims of the volume):

Section One: Master Catalogue

Section Two: Composer Catalogue

Section Three: Librettist Catalogue

Section Four: Source Catalogue

Section Five: Genre Catalogue

Section Six: General Chronology

Section Seven: Act Analysis

Section Eight: Statistical Analysis

Two further sections list a general bibliography for the entire thesis together with technical information on the methods used to compile Part Three.

The role of women in twentieth-century Hungarian operettas
p. 55


ABSTRACT:
This paper aims to develop a gender perspective on twentieth-century Hungarian operettas by focusing on the female protagonists. The prima donna and soubrette characters are situated at the dramaturgical centre of these works, and we adopt a libretto-centered analysis focusing on gender representations in oder to examine them. The research design encompasses three parts: firstly, a presentation of the context and the origins of the librettos – how the prima donna’s charachter influenced the narrative construction of the storyline. Secondly, a comparison of the female operetta characters – analyzing the sources and lives. And thirdly, an examination of the career paths of women, their material depedence and ability to make decisions. Operettas are the imprints of a given age, reflecting on social events, including women’s roles and changes in famele images. This research demostrates that populist theatre is capable of capturing the changes in women’s history of the previous century, and indentifying which factors had a decisive role in the formation of given librettos.

Am 1. April 1943 fand an der Staatsoper Berlin trotz wiederholter Bombenangriffe die Uraufführung von Othmar Schoecks Oper Das Schloss Dürande nach der Novelle Joseph von Eichendorffs statt. Noch im gleichen Jahr gab es zwei Aufführungsserien in Zürich, die nach öffentlichen Protesten jeweils vorzeitig abgebrochen wurden. Seither wurde die Oper überhaupt nur noch ein einziges Mal und bloss in einer stark gekürzten konzertanten Fassung aufgeführt, nämlich 1993 durch Gerd Albrecht in Berlin. Schoecks Spiel mit den Mächtigen hat ihm zwar eine Auffuhrung an einer so prominenten Bühne ermöglicht. Aber er zahlte einen hohen Preis: Karrierebruch und angeschlagene Gesundheit waren die Folgen, von denen er sich niemals mehr erholen konnte.
Bereits von Hermann Göring als «Bockmist» bezeichent, erscheint auch aus heutiger Sicht das Libretto von Hermann Burte als Schwachpunkt der Oper. Sprachlich wirkt es ungeschickt; vor allem aber sind ihm nationalsozialistische Phrasen und «Werte» eingeschrieben. Schoecks Werk zeigt indessen so ausserordentliche musikalische Schönheiten, dass sich eine «Rettung» geradezu aufdrängt.
Ausgehend von einem SNF-Forschungsprojekt und einer damit verbundenen Tagung werden in diesem Sammelband die unheilvolle Begegnung zwischen dem deutschesten aller deutschen Dichter und den Nationalsozialisten neu bewertet. Die einzelnen Beiträge stellen kompositorische Vorkämpfer, Anpasser, Opportunisten, Mitläufer und Opponenten der kulturellen Diktatur vor, klären Kontext und Voraussetzungen der Aufführungen in Berlin wie in Zürich und diskutieren die Tragweite von Schoecks Diktum «als Schweizer bin ich neutral». Letztlich zielt der Sammelband auch auf die Frage nach der politischen Autonomie von Kunst respektive auf die Dichotomie von Schuld und Unschuld in Kunst und Kultur.

The article publishes the first "libretto" ever written. That is an unknown manuscript version of "Dafne" by Ottavio Rinuccini, the poet who then wrote "Euridice" (1600) the "opera in musica" staged at the wedding of Maria de' Medici and king Henry IV of France. The article, by analyzing the metric forms, reconsidering the theatrical genre, comparing the inedit text and what remains of its music, and shed new light on the cultural and social context which led to the birth of opera.

Novelli Endimioni e falsi Atteoni nella Diana schernita (Roma 1629), in Il mito di Diana nella cultura delle corti. Arte letteratura e musica, a c. di G. BÁRBERI SQUAROTTI, A. COLTURATO, C. GORIA (“Centro Studi delle Residenze Reali Sabaude. La civiltà delle corti” 2), Olschki, Firenze 2018, pp. 267-289.

Troppo spesso le questioni relative alla censura vengono
trattate come cose curiose. E se invece questi attacchi alla forma dell'opera si decidesse di prenderli sul serio e non di liquidarli come esternazioni di burocrati? Che dalle misure prese dalla censura si possano acquisire conoscenze essenziali per quel che riguarda l'estetica della ricezione dell'opera in oggetto, l'ha dimostrato in modo esemplare Mario Lavagetto basandosi sui libretti musicati da Verdi. Partendo
dagli adattamenti operati dalla censura sul libretto della Lucrezia Borgia di Felice Romani, di cui ci sono giunte tre versioni - YEustorgia da Romano (Firenze, 1838; Bologna, 1841), Elisa da Fosco (Roma, 1841) come anche La rinnegata (Torino, 1846/47), ampiamente rielaborata -, il presente articolo vuole dimostrare come da tali pratiche si possano ricavare indicazioni sull'influenza della letteratura francese ottocentesca.

Bersagliato da critiche asperrime o esaltato come genio incompreso, il librettista Francesco Maria Piave (1810-1876) è indissolubilmente legato a Giuseppe Verdi, per il quale scrisse i versi di ben dieci opere, tra cui "Ernani", "Macbeth" (con Andrea Maffei), "Stiffelio", "Rigoletto", "La traviata" e "La forza del destino". Questa piccola monografia, che non è una biografia, né un’agiografia e neppure un libello, è un’estesa analisi sul più assiduo collaboratore verdiano tesa a fare un po’ d’ordine nel mare magnum di giudizi e pregiudizi vecchi e nuovi, uno screziato mosaico di voci tra Alberto Savinio, Umberto Saba e recensori e studiosi di ieri e di oggi all’ombra titanica di Verdi.

This article focuses on newly identified librettos of operas set to original German texts and produced at the Kärntnertortheater in the 1740s. The opera Die glückliche Vorbedeutung premiered in the spring of 1741 as part of the grandious celebrations of the birth of Archduke Joseph, the first son of Maria Theresa. The next German-language opera, Aristheus, was produced during the same year both in Vienna and Graz. Finally, the third opera, Hypsipile, was produced sometime before 1747. All three works should be understood in the social and political context of the Wars of the Austrian Succession.

Plot for a Mystery Play: Parsifal - Kitezh - Golden Cockerel (Historical Poetics of Opera on the Eve of Modernism). Moscow-StPetersburg, 2018

INHALT
0. Einleitung GESCHICHTE DER OPER meets GEBURT DER KLINIK:
Musikwissenschaftler, Philosoph und Philologe an der Opéra Clinique
(Einführung in die Philologie des Musikdramas)
Opéra Clinique: Kampf um das Sujet
Wagner-Philologie: Funktion contra Sinn
Librettologie: Musikwissenschaftler contra Philologe
«Der Punkt des Grales»: Philologie in Oper
Symbol-Geschichte: Philologie contra Mythos
Musikdrama: Musik contra Mythos
«Russische Idee» Rimskij-Korsakows
Mythos-Kritik und Russischer Symbolismus
Acknowledgments

I. Der Gral auf der Bühne: das christliche Sujet – eine neue Kunstform

1. Mythos Wagner – Russischer Wagner – Wagner
Wagners Christentum: russisch und politkorrekt gesehen
Ideologie-Kritik des Wagnerschen Christentums: ihre Paradigmen, deren Vorgeschichte

2. Das Wort Wagners: Theorie der ästhetischen Religion
Künstler spricht über Religion
Künstler entdeckt Religion
Künstler kritisiert Religion
Künstler definiert Religion
Künstler entwirft Religion
Theologische Umwendung

3. Die Tat Wagners: «Abendmahl des Hlg. Grales» – eine Volksliturgie
Karfreitagszauber
Opernliturgie.
A. Vermahnung
B. Erinnerung (Anamnese)
C. Kommunion-Epiklese I (Niedergang des Hlg. Geistes)
D. Sacramentum: Einsetzungs-Worte
E. Einsetzungs-Bericht
F. Kommunion-Epiklese II.
Eine katholische Frage an den «Parsifal»
G. Danksagung

4. Der Gedanke Wagners: «Parsifal» – Drama des Dogmas
Christologie
Die Messe
Messe und Legende – Gegenstände und Symbole: Hlg. Gral und Hlg. Speer
Legende anstatt Mythos
Strukturen des religiösen Erkenntnisses
Theater-Religion, Blut-Religion
«Erlösung dem Erlöser».

5. Nach Wagner: «Parsifal» – Drama der Rezeption
«Christentum zum Verkauf»
Exkurse: Mathilde – Cosima – Judith in der Entstehungsgeschichte des «Parsifal»
Konfessionelle Orientierung – Deutschchristentum – All-Religion
Mythos-Denken – Mythos-Text – Mythos-Ritual
Antisemit – Antichrist – Kabbalist
«Buddhistisches Christentum»

II. Verwandlungsmusik

1. Russischer Wagner und Russischer Nietzsche I: Parsifal und Zarathustra
Christlicher Mythos contra christliches Mysterium
Russisches Wagner-Nietzschetum
Solovjev und Wagner
Solovjev – Nietzsche – Solovjev-Nietzschetum
Steiner – «Parsifal» – Ende des Solovjev-Nietzschetums
Erscheinung des «Parsifal»
Der echte «Parsifal» von Ellis
Vom Symbolismus – zur historischen Poetik

2. Russischer Wagner und Russischer Nietzsche II: Musikphilologie
Geburt des «Geistes der Musik» aus der Musik
Musik-Ohr von Vjačeslav Ivanov
Andrej Belyj gegen Taubheit eines Dichters

3. «Ein Russischer “Parsifal”» von Rimskij-Korsakow
Der Vergleich: Krieg oder Frieden?
Rimskij-Korsakow – (anti)Wagnerianer?
«Ein Russischer “Parsifal”»: wer hat’s gesagt?
Komparatistische Hintergründe

4. Zwei Mysterienspiele – eine Gattung
«Die Legende»
Statik
«Das belebte Bild»
Das Leitmotiv: sowohl Musik als auch Wort
Mythos und Legende in Hinsicht auf die Leitmotiv-Technik
Das Narrativ
Erneuerung von Musik-Wort-Synthese
Das musikalische Sujet

III. Die Stadt Kitež – Baustelle des Symbolismus

1. Begegnung des Sujets mit dem Komponisten: Struktur des «Kitež»-Projekts
Das Sujet von der Stadt Kitež auf dem Weg zur Erneuerung
Vladimir Bel’skij – eine unbekannte Größe des Russischen Symbolismus
Der Fall Vasilenko
Geschichte + Dichtung
Zwei Sujets: eine «Gegenbewegung»

2. Christentum und historische Poetik in den Librettos von Vladimir Bel’skij
Der vergleichende Nationalismus
Der Indische Reich
Sophiologie und Philologie
Unsichtbare Stadt Ledenets
Eine Sophienartige Heldin

3. «Komparatistische Oper»: Historie – historische Poetik – Poesie
Szenarium I: Die Geschichte
Szenarium II: Die historische Poetik
Der sakrale Topos
Ein Gesangsansatz eines eschatologischen Heldenliedes
Szenarium III: Das Wunder
Neues Jerusalem
Die Verwandlung des Raums

4. Der Sakral-Raum: Die Stadt Kitež  – ein neuer christlicher Symbol
Das Erden-Paradies
Die Tierwelt
Der Baustoff
Das Licht
Die ökumenische Polyphonie

5. Alternativen der Interpretation: ein komparatistischer Kitež oder ein ethnographischer?
Zweierlei Kitež: in Moskau und in S. Petersburg
Geschichtliche Treue
Heidentum – Christentum
Genese des Interieurs der Heldenlieder
Die Stadt Kitež und der Tempel des Hlg. Grales
Der Tempel des Hlg. Grales und der Tempel Salomo
Architektur und Typologie des Sakral-Raumes

IV. «Der Kitež-Text» des Silbernen Zeitalters:
Vergleich als Selbst-Erkenntnis

1. Germanisierung von Kitež: Der «Musаget-Verlag» gegen Rimskij-Korsakow
Durylin unter dem Druck von «Musaget»
Spur von Ellis
Durylin auf dem Weg zu russischer Kitež
«Unsichtbare Stadt» von Andrej Belyj
«Vol’fila» vor dem entzweiten Kitež-Symbol

2. Der Russische Kitež: à coté de Rimskij-Korsakow
Aus Kitež der Wälder in Kitež der Hauptstadt
«Kitež» von Rimskij-Korsakov und «Mysterienspiel» der Symbolisten
Esoterik des Völkischen

3. «Inonien» von Sergej Esenin – eine lebenslange Oper
4. «Das Lied von Evpatij Kolovrat» – ein «Kitež-Text»

V. «Der goldne Hahn» – ein Mysterium des Lachens

1. Ein Lüge-Märchen und ein Wahr-Märchen: eine christliche Legende von Puškin
Ein Märchen oder eine Legende?
Ein Vogel, ein Ding oder ein Symbol?
Das Umfeld des Symbols: Ideen und Texte
Genese des Symbols
Symbolismus des Sujets
Vom ewigen Symbol zur aktuellen Allegorie

2. Puškin plus Wagner: russischer Komismus von Rimskij-Korsakow
Verschwörung gegen Mysterienspiel: «Der goldner Hahn» – ein satyrisches Pamphlet
Komödie und der Geist der Musik
Vom alten Märchen zum archaischen Mythos
Das Russische Jerusalem
Übermensch der russischen Oper
Dionysos–Adonis, Adonai–Jehovah, Elena Hahn

3. Strahlende Hähne des Silbernen Zeitalters
Eine Schah-Partie
Vjačeslav Ivanov beschuldigt den Spiegel
Ewige Wiederkehr von Puškin: Bel’skij – Belyj – Blok u.a.

Literatur
Namen-Register

Nesta pesquisa é abordada a complexidade das reformas propostas no século XVIII sobre o espetáculo operístico, no que tange a um dos seus principais focos de discussão: a presença do balé junto ao melodrama. Nesse contexto polêmico, Jean-Georges Noverre, um maître des ballets, apresentou um manifesto estético que contribuiu para a transformação do espetáculo operístico, ao reelaborar a dança e a pantomima associadas ao melodrama no ballet d’ action.
Entretanto, apesar de ser um tema central, o estudo da dança junto à ópera é ainda hoje incipiente. Poucos são os autores, como Kathleen Hansell, Carmela Lombardi, Edward Nye, Flavia Pappacena e Raphaëlle Legrand, que têm chamado a atenção para o estudo do balé na ópera, contribuindo consistentemente nesse sentido. Da mesma forma, são praticamente inexistentes os estudos voltados para os registros musicas dos balés reformados de Noverre. Até o momento apenas Catherine Mercier propôs uma análise que passa pela música do balé noverriano, tocando a intersecção com os libretos de balé do coreógrafo.
O objetivo desta pesquisa foi enfatizar a conexão entre suporte musical e literário do balé reformado de Noverre, apresentando um estudo inédito e multidisciplinar do balé-pantomimo Apelles et Campaspe de Noverre. Primeiramente realizou-se um estudo comparativo entre a caligrafia musical do manuscrito de Apelles et Campaspe (não datado e atribuído a Jean-Josseph Rodolphe), presente na Biblioteca da Ópera de Paris, e a da obra Dominus illuninatio mea (de J.J. Rodolphe), para confirmar a autoria do compositor. Este processo detalhado permitiu tanto provar que a partitura de Apelles et Campaspe é de fato de Rodolphe, quanto resultou na transcrição da obra para uma versão moderna. Posteriormente foi desenvolvida uma análise músico-textual entre a partitura e as versões de libreto desse balé, publicadas na França, que poderiam corresponder a este manuscrito. Definiu-se uma análise comparativa, explorando as nuances entre as diferentes versões do libreto, a partir da qual foram traçadas intersecções que sublinhassem a importância da relação entre ação em dança e música, como apontou Noverre em suas Lettres sur la Danse (1760). Como resultado foi possível concluir qual das versões do libreto de Apelles et Campaspe corresponde ao manuscrito musical.
Para entender e situar a importância musical desse balé, junto às reformas da ópera, foi realizado um estudo preliminar que examinou como se articulavam os principais teóricos da dança, e críticos da ópera, em torno de questões como a imitação, a verossimilhança e a expressão. Esse processo permitiu a construção de uma trama teórica – uma “poética da dança” – que deu suporte à compreensão da importância das reformas de Noverre para redefinir a dança como uma das artes imitativas aplicadas ao gênero dramático musical da ópera.

Il saggio studia in che modo Apostolo Zeno adattò la novella boccaccesca alla struttura dei libretti riformati. Si considerano le diverse fonti e l'influenza di altri libretti coevi.
Il saggio si trova all'interno di "In qualunque lingua sia scritta". Miscellanea di studi sulla fortuna della novella nell'Europa del Rinascimento e del Barocco, a cura di Guillermo Carrascon Garrido

Eine nationalsozialistisch «kontaminierte» Oper soll aufgrund ihrer musikalischen Reichtümer mit einem erneuerten Libretto wieder auf die Bühne gebracht werden – doch wie, ohne gleichzeitig die Historie zu verleugnen? Ergänzend zu einer Gegenüberstellung des alten und neuen Librettos zu Othmar Schoecks Oper «Das Schloss Dürande» werden in diesem Band anhand bisher unveröffentlichter Quellen sowohl die Entstehung der Oper als auch der Ablauf ihrer Überarbeitung dokumentiert.
Der Schweizer Komponist Othmar Schoeck tat sich aus heutiger Sicht wahrlich keinen Gefallen, als er sich Ende der 1930er-Jahre auf Anregung des Winterthurer Mäzens Werner Reinhart mit dem badischen Dichter ­Hermann Burte zusammentat, um eine Oper zu schreiben. Zu allem Überfluss wurde das auf einer Novelle von Joseph von Eichendorff basierende «Schloss Dürande» 1943 an der Staatsoper Berlin und damit im erklärten Leuchtturm der national­sozialistischen Kulturpolitik uraufgeführt. Das musikalisch zwar heraus­ragende, sprachlich und politisch aber gezeichnete Werk verschwand in der Versenkung. Anhand von bisher unveröffentlichten Quellen wurde nun die Geschichte der Oper aufgearbeitet und gleichzeitig versucht, dem Werk im Rückgriff auf die Vorlage Eichendorffs und seine Lyrik ein neues Libretto zu unterlegen. Neben der Gegenüberstellung beider Libretti, die zum eigenen ästhetischen Urteil einlädt, bietet dieser Band deshalb auch eine ausgiebige Dokumentation zum Entstehungs- und Bearbeitungsprozess der Oper.