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Travesti Parts in the Opera of the XVIIXVIII Centuries. - Paradoxes and Curiosities

Denisov Andrei Vladimirovich

Doctor of Art History

Professor of the Department of History of Foreign Music of the St Petersburg State Conservatory after N.A. Rimsky-Korsakov

190000, Russia, g. Saint Petersburg, ul. Glinki, 2

denisow_andrei@mail.ru

 

 

Abstract.

The article illustrates the factors that determine the use of travesti with due regard to historical and cultural standards of the era, as well as the factors determined by specific artistic tasks of the author. The second case includes situations of representation of certain age characteristics of the hero/heroine, parody-grotesque and infernal images. The author marks a connection of the last two situations with carnival aesthetics. It is the first time in musicology that this problem is addressed. As examples, the article uses  operas by S. Landi, D. Vinci, F. Cavalli, G. Handel, W. Mozart, L. Rossi, J.Rameau. The methodology of the work is based on complex consideration of the phenomenon under study. In conclusion the author notes that it represents an integral quality of musical theatre of the era under study that exists according to its laws, paradoxical and motivated by its own artistic logic at the same time. The article is intended for a wide range of readers - from professionals studying the opera art of the past and the present days to readers interested in general issues of theatre and opera.

Keywords: art history, ancient music, carnival, role, parody, theater, music, opera, travesty, musicology

DOI:

10.7256/2453-613X.2018.2.26544

Article was received:

07-06-2018


Review date:

11-06-2018


Publish date:

30-07-2018


This article written in Russian. You can find full text of article in Russian here .

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