The essay offers an analysis of the Cherubini’s Démophoon and the context of the Opéra in the Late 1780s. The success of the french translations of the Metastasio’s Librettos influenced the choice of subjects to be set to music. Marmontel retains the metastasian Ethic, functional to his patronage, but, obviously moves away from traditional morphologu of Italian Opera seria. Cherubini tackles the writing of the Tragédie Lyrique for the first time and focuses on the expressive power of Harmony and he creates a precise tonale plane as Piccinni had done in Atys. Cherubini’s style is compared to that of Salieri, Sacchini and Grétry in order to bring out its originality.
Il Metastasio infranciosato di Marmontel e Cherubini
Lorenzo Mattei
2021-01-01
Abstract
The essay offers an analysis of the Cherubini’s Démophoon and the context of the Opéra in the Late 1780s. The success of the french translations of the Metastasio’s Librettos influenced the choice of subjects to be set to music. Marmontel retains the metastasian Ethic, functional to his patronage, but, obviously moves away from traditional morphologu of Italian Opera seria. Cherubini tackles the writing of the Tragédie Lyrique for the first time and focuses on the expressive power of Harmony and he creates a precise tonale plane as Piccinni had done in Atys. Cherubini’s style is compared to that of Salieri, Sacchini and Grétry in order to bring out its originality.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
