Od Orfeja do Odiseja - pokušaj rekonstrukcije Monteverdijevog puta

master's thesis

• Author: Marija - Katarina Jukić
• Mentor: Ivan Ćurković (mentor)
• Granter: University of Zagreb; Academy of Music; (Musicology Department); Zagreb
• Defense date and country: 2020-02-12, Croatia
• Scientific / art field, discipline and subdiscipline: HUMANISTIC SCIENCES; Art Sciences; Musicology and Ethnomusicology

Abstract

Nastanak opere kao vrste moguće je podijeliti u dvije faze. Prvu čini njezino rođenje na dvorovima sjeverne Italije krajem šesnaestog stoljeće pod okriljem ideala stile rappresentativo, a drugu početak njezinog „javnog života“ na pozornicama Venecije u kasnim tridesetim godinama sedamnaestog stoljeća. Tamo su se počele razvijati karakteristike koje će definirati operu sedamnaestog i osamnaestog stoljeća: razlikovanje uloge recitativa kao mjesta u kojemu se radnja pokreće, naspram arije kao trenutka emocionalne refleksije i zaustavljanja radnje. Claudio Monteverdi bio je ključna osoba u tom procesu. U njezinom dvorskom kontekstu sudjelovao je svojom operom Orfeo, a u Veneciji Il Ritorno d'Ulisse in Patria, njegovom prvom operom za javno kazalište. S obzirom na to da s su sve Monteverdijeve opere pisane u razdoblju između ova dva djela izgubljene, cilj ovoga rada je pokušati pronaći obrise toga puta koristeći se Monteverdijevim madrigalima. Kroz analize navedenih opera i odabranih madrigala pokazat će se kako postoje povezanosti između Monteverdijevog pisanja za jednu i drugu vrstu, što znači da postoje sličnosti između Orfeja i madrigala pisanih u to doba, jednako kao i Il Ritorno d'Ulisse in Patria i madrigala pisanih u tom razdoblju. Ta teza omogućuje pretpostavku da madrigali pisani u razdoblju između jedne i druge opere odražavaju promjene koje su se u tom razdoblju počele događati u skladanju opera.

Abstract (english)

It is possible to divide the origin of the opera into two stages. The first one would be its birth on the courts of northern Italy at the end of the 16th century under the guise of stile rappresentativo. The second stage takes place in Venice in the late thirties, where its „public life“ began in the public theaters. It was there that opera started to develop the characteristics which would define it in the 17th and 18th centuries: the recitative began to be the place where the plot was developed and stirred, in comparison with the aria that was becomming a place of emotional reflection and expression. Claudio Monteverdi was a key person in this process. His opera Orfeo is a distinctive representation of court opera of the „first phase“, and his Il Ritorno d'Ulisse in Patria of the first operas written and performed in Venice. Since all the operas Monteverdi wrote in the thirty years that separate the two mentioned works are lost, the goal of this paper is to try to find traces of this path in Monteverdi's madrigals. The analysis of Orfeo, Il Ritorno d'Ulisse in Patria and a selection madrigals will show the differences in the compositional approach between the two operas, as well as the connections between them and the madrigals. This hypothesis makes it possible to assume that the madrigals written in the period between the two operas reflect the changes that were starting to happen in the composition of the operas.

• Keywords: Claudio Monteverdi; opera; madrigal; stile rappresentativo; opera u Veneciji
• Keywords (english): Claudio Monteverdi; opera; madrigal; stile rappresentativo; opera in Venice
• Language: croatian
• URN:NBN: urn:nbn:hr:116:088214
• Study programme: Title: Integrated Undegraduate and Graduate University Study Programme in Musicology; specializations in: Hystoric Musicology, Systematic Musicology, Ethnomusicology; Course: Hystoric Musicology; Study programme type: university; Study level: graduate; Academic / professional title: magistar/magistra muzikologije (magistar/magistra muzikologije)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Open access
• Created on: 2020-07-23 07:47:03