Le theme de lucio silla dans l'opera italien de 1683 a 1778
Institution:
Paris 4Disciplines:
Directors:
Abstract EN:
The thesis traces the evolution of italian lyrical drama during the 18th century (known as the century of enlightenment). Three parts provide the cadence for this work, all calling on a central theme. The first is dedicated to the study of opera librettos written on a identical subject, as well as to the birth and development of the sylla myth: the theme of clemency is central to the librettos in question. A variety of influences can be detected in the librettists' texts: aspects of french lyric tragedy and sentimental drama can be found, as well as traces of shakesperian drama and english sepulcral poetry of the 18th century. The second part addresses knowledge of musical partitions and their composers; from overtures to vocal ensembles via the the different variations of known airs, this part shows a lyrical form in constant development. The third part describes the theatres themselves and the stages of lyrical setting. Finally, before noting the ballets that were danced between acts, the careers of those who sang these works are discussed. The conclusion highlights the elusive character of a form as a reflection of a society undergoing great change.
Abstract FR:
La these retrace l'evolution du drame lyrique italien durant le siecle des lumieres. Trois parties rythment ce travail autour d'un theme. La premiere est consacree a l'etude des livrets d'operas ecrits sur le meme sujet, ainsi qu'a la naissance et au developpement du mythe de sylla: le theme de la clemence est au centre des livrets analyses. Des influences diverses marquent les textes des librettistes: des aspects de la tragedie lyrique francaise et du drame sentimental y sont reconnaissables, comme des traits du drame de shakespeare et de la poesie anglaise des tombeaux du 18eme siecle. La deuxieme partie aborde la connaissance des partitions musicales et de leurs auteurs; des ouvertures aux ensembles vocaux en passant par les differentes formes d'airs connues, cette partie montre une forme lyrique qui se renouvelle sans cesse. La troisieme partie decrit les theatres des representations et les etapes de la scenographie lyrique. Enfin, avant de nommer les ballets intercales entre les actes, il est question de la carriere des differents interpretes des oeuvres. La conclusion met en evidence le caractere insaisissable d'une forme, reflet d'une societe en pleine mutation.