The examination of Giuseppe Nicolini's Il Geloso sincerato confirms the difficulty in attributing a clear collocation to the comic opera during the period of 'transition' (en attendant Rossini), but at the same time reveals interesting attempts to conquer a new gesture musical, substitutive of that which was rooted in Pergolesi & C. In this complex change of course it is difficult to understand if Nicolini acted as the main character or if instead he was one of the many dignified masters that the genius from Pesaro will wipe out in a shot. Rather than to the composers, attention should be focused on the wishes of the performers and on the production mechanisms of the individual theatrical places.
La crisi dell’opera buffa: il caso del “Geloso sincerato” di Giuseppe Nicolini
Lorenzo Mattei
2012-01-01
Abstract
The examination of Giuseppe Nicolini's Il Geloso sincerato confirms the difficulty in attributing a clear collocation to the comic opera during the period of 'transition' (en attendant Rossini), but at the same time reveals interesting attempts to conquer a new gesture musical, substitutive of that which was rooted in Pergolesi & C. In this complex change of course it is difficult to understand if Nicolini acted as the main character or if instead he was one of the many dignified masters that the genius from Pesaro will wipe out in a shot. Rather than to the composers, attention should be focused on the wishes of the performers and on the production mechanisms of the individual theatrical places.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
