The project aims to investigate the times and the way in which the Italian melodrama of the second eighteenth century - serious and comic, set up in Italy or in the European courts - has been able to exploit the scenic resource behind the scenes to expand the stage space and musically move the Action in a complex way. The exam will be conducted mainly on the press libretti but will also consider the surviving scores to verify the musical solutions adopted. In fact, 'out of stage' music was not always limited to exhibiting realistic intradialogic songs but in some cases it gave rise to an articulated dialectic of the theatrical space with dramatic effects: in the experimental melodramas of the Venetian area, for example, librettists such as Sografi, Foppa, Rossi, invited their composers to use broken choral groups or to dispose of some solo instruments out of the orchestral fence. This would be a first systematic survey conducted on an exhaustive sample of about 500 libretti and 350 scores from which an important mosaic block would emerge, reflecting the management of the stage space in the Italian melodrama of the years 1750-1800.
"Sentesi da dentro". musiche dietro le quinte nel melodramma italiano del secondo settecento
Mattei Lorenzo
2020-01-01
Abstract
The project aims to investigate the times and the way in which the Italian melodrama of the second eighteenth century - serious and comic, set up in Italy or in the European courts - has been able to exploit the scenic resource behind the scenes to expand the stage space and musically move the Action in a complex way. The exam will be conducted mainly on the press libretti but will also consider the surviving scores to verify the musical solutions adopted. In fact, 'out of stage' music was not always limited to exhibiting realistic intradialogic songs but in some cases it gave rise to an articulated dialectic of the theatrical space with dramatic effects: in the experimental melodramas of the Venetian area, for example, librettists such as Sografi, Foppa, Rossi, invited their composers to use broken choral groups or to dispose of some solo instruments out of the orchestral fence. This would be a first systematic survey conducted on an exhaustive sample of about 500 libretti and 350 scores from which an important mosaic block would emerge, reflecting the management of the stage space in the Italian melodrama of the years 1750-1800.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
