Lectures, Italy, Siena, 27 November 2012
A tribute to the German composer Christoph Willibald Gluck and his reformation of the opera in the second half of the eighteenth century: this is the focus of the StARTers presentation on Tuesday, November 27, by the returning musicologist Guido Burchi.
After last month's discussion dedicated to the birth of the melodramma, Burchi will lead the StARTers public in an in-depth elaboration of the theoretical reflection that Gluck began, together with other intellectuals of the time, imagining a "reform" of the opera based on new dramaturgical and stylistic criteria.
The main aspect of this reflection had to do with the relationship between music and text which, in Gluck's opinion, had been degraded by the virtuosic singing used at the time, running out of subjects of real interest to the public.
Thus in the Vienna of Maria Teresa the two works that fully demonstrated the new conception were born: Orpheus (1762) and Alceste (1767), two real manifestations of this shift, destined to have important consequences in the future.
After last month's discussion dedicated to the birth of the melodramma, Burchi will lead the StARTers public in an in-depth elaboration of the theoretical reflection that Gluck began, together with other intellectuals of the time, imagining a "reform" of the opera based on new dramaturgical and stylistic criteria.
The main aspect of this reflection had to do with the relationship between music and text which, in Gluck's opinion, had been degraded by the virtuosic singing used at the time, running out of subjects of real interest to the public.
Thus in the Vienna of Maria Teresa the two works that fully demonstrated the new conception were born: Orpheus (1762) and Alceste (1767), two real manifestations of this shift, destined to have important consequences in the future.
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