Download Armide hinter den Spiegeln: Lully, Gluck und die by Dörte Schmidt PDF

By Dörte Schmidt

Christoph Willibald Gluck komponierte in den 70er Jahren des 18. Jahrhunderts ein quick hundert Jahre altes Libretto nahezu unverändert. Anders als in der italienischen Oper, wo Mehrfachvertonungen die Regel waren, sind bei »Armide« Quinaults textual content und Lullys ursprüngliche Musik untrennbar miteinander verbunden. Glucks künstlerisches Interesse an Quinaults textual content muss vor dem Horizont des spezifisch französischen Theaterlebens verstanden werden: der diskursive Umgang mit »Armide« führt von den dramatischen Parodien der Pariser Sprechbühnen bis hin zu vielfältigen Ausprägungen musikdramatischer Formen im Laufe des 18. Jahrhunderts. Auf diesem Weg lässt sich eine culture des künstlerischen Umgangs mit gleichsam kanonisierten musikdramatischen Werken herausarbeiten, die eine neue Perspektive auf Glucks »Armide« und deren Bedeutung im Kontext seiner Pariser Opern eröffnet.

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Extra resources for Armide hinter den Spiegeln: Lully, Gluck und die Möglichkeiten der dramatischen Parodie

Sample text

2, S. 407. 43 MELISSE A la porte, perfide! Ah, ne I' ose esperer. Je m'en vais a I'instant tout I'Enfer conjurer.

Charles Perrault, Parallele des anciens et des modernes, Paris 1688-1697, S. 354. 12 "J'admire Baptiste [Lully] aussi bien pour la direction des danses, qu'en ce qui touche les voix et les instrumens; mais la constitution de ses Opera doit paroltre bien extravagante a ceux qui ont le bon-goGt du vraisemblable et du merveilleux. [... ] Pour moi qui ai passe I'age et le tems de me signaler dans le monde par I' esprit des modes et par le merite des fantaisies, je me resous de prendre le parti du bon-sens, tout abandonne qu'i1 est, et de suivre la raison dans sa disgrace, avec autant d'attachement que si elle avoit encore sa premiere consideration.

Appropriation, Parody and the Birth oJFrench Opera, S. I I f. 20 Siehe die Übersicht über die Aufführungen zwischen 1673 und 1686: John S. PoweIl, Charpentier 's Music Jor MoJieres ,Le Malade imaginaire " S. 131. , S. 107-113. Es ist also keineswegs so - wie Fn:deric Robert vennutet -, daß dieses Duett zwischen Cleante und Angelique "etait probablement improvise sur des timbres populaires"; Frederic Robert, Malade imaginaire, S. 432. Solche auf Vaudevilles gesungenen Opernszenen gibt es im Theätre Italien erst Anfang der 1690er Jahre.

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