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Recomposing Monteverdi: Twentieth-Century Adaptations of Monteverdi's Operas.

Benjamin Ernest. Thornburn Yale University. 2012

Dissertation Abstracts International 73-12A(E).

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題名:
Recomposing Monteverdi: Twentieth-Century Adaptations of Monteverdi's Operas.
著者: Benjamin Ernest. Thornburn
Yale University.
主題: Music
所屬期刊: Dissertation Abstracts International 73-12A(E).
描述: The operas of Monteverdi have fascinated composers of all nationalities throughout the twentieth century. Some viewed these early music dramas as precursors of Wagner's operas, or as an alternative path away from Wagner's influence; others compared Monteverdi's harmonic innovations to those of Schoenberg. Many composers paid homage to Monteverdi by preparing modernized performing editions of his works, and for the first half of the century, it was primarily through these editions or adaptations that Monteverdi's operas were heard. By considering these adaptations as documents of reception, we see how composers interacted with Monteverdi by recomposing his operas and in turn drawing inspiration from them. Each chapter of my dissertation discusses one of these adaptations in detail, showing how the editor-composer reshaped and reinterpreted the opera for his time and place.
I first examine Vincent d'Indy's edition of Orfeo, which was performed at the Paris Schola Cantorum in 1904---the first modern performance of a Monteverdi opera. D'Indy's influential edition remained in use for decades and has often been seen as Wagnerian, contributing to d'Indy's narrative of Monteverdi as a forerunner of Wagner. I show how d'Indy's edition responds to Robert Eitner's scholarly edition of Orfeo, on which it is based, and how it participates in the opposition between French and German music at the turn of the century.
In chapter 2, I consider the adaptation of L'incoronazione di Poppea prepared by Ernst Krenek and performed in Vienna and the United States in 1937--38. By altering pivotal scenes such as the attempted murder of Poppea, Krenek sought to ameliorate the weaknesses he saw in Busenello's libretto. I show how these revisions affect the drama, especially in the characters of Seneca and Drusilla, both of whom are regarded in recent scholarship as central moral figures. From Krenek's writings, I show that his reconception of the female characters reflects the ideal of the "eternal feminine" that prevailed in Viennese literary circles of his time.
The third chapter focuses on the adaptation of Il ritorno d'Ulisse in patria by Luigi Dallapiccola, commissioned for the 1942 Florence Maggio Musicale. Dallapiccola called his work a "musical translation" of the opera into the language of his time. This adaptation arose at a time when Dallapiccola looked back to the ancient world in works such as the Liriche greche (1942--5), and it foreshadows his later opera Ulisse (1968), which synthesizes many literary retellings of the Odyssey.
Finally, in chapter 4, I consider Alexander Goehr's Arianna (1995): a newly composed opera on the libretto of Monteverdi's lost opera, from which only the famous lament survives. Goehr's recomposition draws upon his lifelong involvement with Monteverdi's music, and I make preliminary attempts to understand how the opera's musical language is derived from the fragmentary lament.
出版者: Thesis (Ph.D.)--Yale University, 2012.
建立日期: 2012
格式: 207 p..
語言: 英文
識別號: ISBN9781267574961
資源來源: NUTN ALEPH

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Recomposing Monteverdi: Twentieth-Century Adaptations of Monteverdi's Operas.

Benjamin Ernest. Thornburn Yale University. 2012

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