Otpor ženskih likova i njegove političko-patriotske implikacije u dvije Rossinijeve opere

Autor: Inja Jugo, Katja Radoš-Perković
Jazyk: chorvatština
Rok vydání: 2013
Předmět:
Zdroj: Arti musices : hrvatski muzikološki zbornik
Volume 44
Issue 1
ISSN: 1848-9303
0587-5455
Popis: Članak proučava ulogu dviju junakinja Rossinijevih opera u užem kontekstu libreta i širem kontekstu društveno-političkih implikacija u vremenu kada su djela premijerno bila izvedena. Analizira se lik Isabelle iz opere Talijanka u Alžiru (L’italiana in Algeri, 1813), na libreto Angela Anellija, i lik Angeline iz opere Pepeljuga ili trijumf dobrote (Cenerentola, ovvero la bontà in trionfo, 1817), na libreto Jacopa Ferrettija. Obje opere pripadaju kategoriji buffe, ali Talijanka se ubraja u podžanr egzotične opere, dok Pepeljuga pripada podžanru sentimentalne komedije. Odabrane su upravo spomenute junakinje zato što se obje suprotstavljaju nekom autoritetu ili konvenciji, koristeći, međutim, suprotne metode, u članku definirane kao ekstrovertirani i introvertirani otpor. Osim antitetičnoga pristupa u borbi za vlastite ciljeve, uočeno je i da su djela oprečna i s aspekta makrostrukture, utoliko što Talijanka u znatno većoj mjeri podržava elemente fantastike i bajke, dok je Pepeljuga, derivirana iz opće poznate bajke, posve lišena svih takvih elemenata. Djelovanje junakinja, bilo u bajkovitoneodređenom kontekstu Alžira ili realističnom kontekstu okolice Napulja, osim individualne slobode promiče i druπtveno-političke slobode koje će zastupati Risorgimento, preporodni pokret za ujedinjenje Italije. Operno-politički aktivizam nije novost u talijanskom romantizmu, ali u ovim je primjerima značajan jer nije istovremen već anticipira revolucionarna zbivanja.
The paper investigates the characters of two Rossini heroines within the libretti, but also within the socio-political implications at the time the operas were first staged. The analyzed characters are those of Isabella from the opera L’italiana in Algeri (1813), libretto by Angelo Anelli, and of Angelina from the opera Cenerentola, ovvero la bontà in trionfo (1817), libretto by Jacopo Ferretti. Both works belong to the genre of opera buffa; the Italiana belongs to the subgenre of exotic opera, while Ceneretola falls under the subgenre of sentimental comedy. The characters presented in the paper share a form of resistance to authority or convention but, while showing resistance, they use opposing methods, which we have defined as extrovert vs. introvert resistance. Aside from the antithetic approach in their fight for their own causes, it has been noted that the two works are antithetic also on the level of the whole plot, insomuch as the Italiana offers a much larger number of fantastic and fairy-tale elements in comparison to Cenerentola, obviously derived from the famous fairy-tale, in which all such elements are absent. The actions undertaken by the heroines, whether within the framework of fairy-tale-like suggested Algiers or the realistic ambiance of the surroundings of Naples, besides promoting individual freedoms, also advocate certain socio-political freedoms, which would be embodied in the Risorgimento, the Italian independence movement. The political activism of opera was well known during Italian Romanticism, but it becomes significant in these examples as they anticipate revolutionary activities.
Databáze: OpenAIRE
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