Looking backwards: Baroque opera and the ending of the Orpheus myth
Identifieur interne : 000007 ( Istex/Corpus ); précédent : 000006; suivant : 000008Looking backwards: Baroque opera and the ending of the Orpheus myth
Auteurs : L. BullerSource :
- International Journal of the Classical Tradition [ 1073-0508 ] ; 1995-03-01.
Abstract
Abstract: Vergil and Ovid, the Latin authors most widely read during the Baroque Age, presented the legend of Orpheus as ending tragically: the singer lost Eurydice forever and then endured a horrible death at the hands of the Maenads. While this version of the story was widely known throughout the Baroque Age, most operas of that period contained an altered version of the legend with a happy ending (lieto fine). Orpheus was presented as exalted into the heavens, reunited with Eurydice on earth, or at least consoled for his sufferings by the god Apollo. An examination of Poliziano’sOrfeo (1480), Jacopo Peri’sEuridice (1600), Claudio Monteverdi’sLa favola di Orfeo (1607), Luigi Rossi’sOrfeo (1647), and Christoph Willibald Gluck’sOrfeo ed Euridice (1762) suggests that many different reasons—artistic, musical, social, and sometimes even personal—explain why Baroque composers so frequently changed the ending of this myth. Surveying those reasons is important because it helps to clarify the relationship between Baroque opera and Italian pastoral poetry. Additionally, such an analysis provides insight into the Baroque approach to the classical tradition as a whole.
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DOI: 10.1007/BF02701937
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Buller</name><affiliation><mods:affiliation>Associate Dean, Liberal Arts and Social Sciences, Georgia Southern University, Landrum Box 8142, 30460-8142, Statesboro, Georgia</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:506EF84431CD6E14DE71FAA288F4233280049966</idno><date when="1995" year="1995">1995</date><idno type="doi">10.1007/BF02701937</idno><idno type="url">https://api.istex.fr/document/506EF84431CD6E14DE71FAA288F4233280049966/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000007</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Looking backwards: Baroque opera and the ending of the Orpheus myth</title><author><name sortKey="Buller, L" sort="Buller, L" uniqKey="Buller L" first="L." last="Buller">L. Buller</name><affiliation><mods:affiliation>Associate Dean, Liberal Arts and Social Sciences, Georgia Southern University, Landrum Box 8142, 30460-8142, Statesboro, Georgia</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">International Journal of the Classical Tradition</title><title level="j" type="abbrev">IJCT</title><idno type="ISSN">1073-0508</idno><idno type="eISSN">1874-6292</idno><imprint><publisher>Springer Netherlands</publisher><pubPlace>Dordrecht</pubPlace><date type="published" when="1995-03-01">1995-03-01</date><biblScope unit="volume">1</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="57">57</biblScope><biblScope unit="page" to="79">79</biblScope></imprint><idno type="ISSN">1073-0508</idno></series><idno type="istex">506EF84431CD6E14DE71FAA288F4233280049966</idno><idno type="DOI">10.1007/BF02701937</idno><idno type="ArticleID">Art4</idno><idno type="ArticleID">BF02701937</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">1073-0508</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Abstract: Vergil and Ovid, the Latin authors most widely read during the Baroque Age, presented the legend of Orpheus as ending tragically: the singer lost Eurydice forever and then endured a horrible death at the hands of the Maenads. While this version of the story was widely known throughout the Baroque Age, most operas of that period contained an altered version of the legend with a happy ending (lieto fine). Orpheus was presented as exalted into the heavens, reunited with Eurydice on earth, or at least consoled for his sufferings by the god Apollo. An examination of Poliziano’sOrfeo (1480), Jacopo Peri’sEuridice (1600), Claudio Monteverdi’sLa favola di Orfeo (1607), Luigi Rossi’sOrfeo (1647), and Christoph Willibald Gluck’sOrfeo ed Euridice (1762) suggests that many different reasons—artistic, musical, social, and sometimes even personal—explain why Baroque composers so frequently changed the ending of this myth. Surveying those reasons is important because it helps to clarify the relationship between Baroque opera and Italian pastoral poetry. Additionally, such an analysis provides insight into the Baroque approach to the classical tradition as a whole.</div></front></TEI><istex><corpusName>springer</corpusName><author><json:item><name>Jeffrey L. Buller</name><affiliations><json:string>Associate Dean, Liberal Arts and Social Sciences, Georgia Southern University, Landrum Box 8142, 30460-8142, Statesboro, Georgia</json:string></affiliations></json:item></author><language><json:string>eng</json:string></language><abstract>Abstract: Vergil and Ovid, the Latin authors most widely read during the Baroque Age, presented the legend of Orpheus as ending tragically: the singer lost Eurydice forever and then endured a horrible death at the hands of the Maenads. While this version of the story was widely known throughout the Baroque Age, most operas of that period contained an altered version of the legend with a happy ending (lieto fine). Orpheus was presented as exalted into the heavens, reunited with Eurydice on earth, or at least consoled for his sufferings by the god Apollo. An examination of Poliziano’sOrfeo (1480), Jacopo Peri’sEuridice (1600), Claudio Monteverdi’sLa favola di Orfeo (1607), Luigi Rossi’sOrfeo (1647), and Christoph Willibald Gluck’sOrfeo ed Euridice (1762) suggests that many different reasons—artistic, musical, social, and sometimes even personal—explain why Baroque composers so frequently changed the ending of this myth. Surveying those reasons is important because it helps to clarify the relationship between Baroque opera and Italian pastoral poetry. 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While this version of the story was widely known throughout the Baroque Age, most operas of that period contained an altered version of the legend with a happy ending (<Emphasis Type="Italic">lieto fine</Emphasis>). Orpheus was presented as exalted into the heavens, reunited with Eurydice on earth, or at least consoled for his sufferings by the god Apollo. An examination of Poliziano’s<Emphasis Type="Italic">Orfeo</Emphasis> (1480), Jacopo Peri’s<Emphasis Type="Italic">Euridice</Emphasis> (1600), Claudio Monteverdi’s<Emphasis Type="Italic">La favola di Orfeo</Emphasis> (1607), Luigi Rossi’s<Emphasis Type="Italic">Orfeo</Emphasis> (1647), and Christoph Willibald Gluck’s<Emphasis Type="Italic">Orfeo ed Euridice</Emphasis> (1762) suggests that many different reasons—artistic, musical, social, and sometimes even personal—explain why Baroque composers so frequently changed the ending of this myth. 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Later (page 298), he speaks of "the dramatic letdown I feel at the end of Gluck's opera." 70. Hints of the pathetic fallacy in Orfeo ed Euridice include Orpheus's statement in Scene 2 that the very woods and valleys mourn Eurydice by echoing her name; with a trembling hand, he has inscribed the name of his beloved on the trunk of every tree (Ah! questo nome sanno le spiagge, e le selve l'appresero da me, per ogni valle risuona</title><author><persName><surname>Note</surname></persName></author><imprint></imprint></monogr><note>in. ogni tronco scrisse il misero Orfeo di mano tremolante</note></biblStruct><biblStruct xml:id="b1"><analytic><title></title><author><persName><forename type="first">See</forename><forename type="middle">Patricia</forename><surname>Howard</surname></persName></author><author><persName><forename type="first">C</forename><forename type="middle">W</forename><surname>Gluck</surname></persName></author></analytic><monogr><title level="j">Orfeo</title><imprint><publisher>Cambridge University Press</publisher><publisher>Cambridge University Press</publisher><biblScope unit="page" from="17" to="22"></biblScope><date type="published" when="1981"></date></imprint></monogr></biblStruct><biblStruct xml:id="b2"><monogr><title level="m" type="main">See Poetics 1450 b 28 -1451 a 18</title><imprint></imprint></monogr></biblStruct><biblStruct xml:id="b3"><monogr><title level="m" type="main">On the characteristics of Metastasio's libretti and of the opera seria, see Kimbell, Italian Opera 181-189 and Philip G. Downs, Classical Music</title><imprint><date type="published" when="1992"></date><publisher>Norton</publisher><biblScope unit="page" from="87" to="90"></biblScope><pubPlace>New York, NY</pubPlace></imprint></monogr></biblStruct><biblStruct xml:id="b4"><monogr><title></title><author><persName><forename type="first">Howard</forename><surname>Gluck</surname></persName></author><imprint><biblScope unit="page">21</biblScope></imprint></monogr></biblStruct><biblStruct xml:id="b5"><analytic><title level="a" type="main">Although L'anima delfilosofo was never performed in Haydn's lifetime, the reasons for this were technical or political and had nothing to do with censorship Haydn: A Creative Life in Music</title><author><persName><forename type="first">See</forename><forename type="middle">H C</forename><surname>Robbins Landon</surname></persName></author><author><persName><forename type="first">Karl</forename></persName></author><author><persName><forename type="first">Irene</forename><surname>Geiringer</surname></persName></author></analytic><monogr><title level="m">His Life and Music</title><editor>See H.C. Robbins Landon and David Wyn Jones</editor><meeting><address><addrLine>Bloomington, IN ; Haydn ; Bloomington, IN ; Berkeley, CA</addrLine></address></meeting><imprint><publisher>Indiana University Press Indiana University Press University of California Press</publisher><date type="published" when="1976"></date><biblScope unit="page" from="326" to="328"></biblScope></imprint></monogr><note>third. edition</note></biblStruct><biblStruct xml:id="b6"><monogr><title level="m" type="main">Oeagrus was also occasionally said to have been Orpheus's father in antiquity. See, for instance, Apollodorus 1.9.16 and Pindar fragment 126</title><imprint><publisher>Bowra</publisher></imprint></monogr></biblStruct></listBibl></back></text></istex:refBibTEI></enrichments><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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