During nineteenth century operatic chorus was a powerful vehicle for the diffusion of national feelings. An acclamation or an hymn was able to suffer political readings since the chorus could be outside the action as a voice-off. Choral mass could represent nation’s identity when was elevated from its largely passive and decorative role into a dynamic embodiment of ‘the people’. The origin of this change is datable during the ultimate decade of eighteenth century, particularly in the repertory of Fenice theatre in Venice (years 1792-1804). Here the finality is not only to collocate in the eighteenth century an idea of chorus that traditionally is ascribable to romanticism, but also to explain the consequences on compositive strategy examining how the composers skillfully unite musical and dramatic elements to make the chorus an integral character.
Il coro operistico e il concetto di ‘patria’ tra Rivoluzione ed età napoleonica
Lorenzo Mattei
2013-01-01
Abstract
During nineteenth century operatic chorus was a powerful vehicle for the diffusion of national feelings. An acclamation or an hymn was able to suffer political readings since the chorus could be outside the action as a voice-off. Choral mass could represent nation’s identity when was elevated from its largely passive and decorative role into a dynamic embodiment of ‘the people’. The origin of this change is datable during the ultimate decade of eighteenth century, particularly in the repertory of Fenice theatre in Venice (years 1792-1804). Here the finality is not only to collocate in the eighteenth century an idea of chorus that traditionally is ascribable to romanticism, but also to explain the consequences on compositive strategy examining how the composers skillfully unite musical and dramatic elements to make the chorus an integral character.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
