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Friedrich Schillers Dramen und die Epoche des italienischen Belcanto: Vom Drama zum Opernlibretto

Friedrich Schillers Dramen und die Epoche des italienischen Belcanto: Vom Drama zum Opernlibretto

          
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About the Book

Bei der Oper wird die Musik zum Träger der Handlung, der Stimmung und der Gefühle. Sie übernimmt eine zentrale Gestaltungsrolle, wodurch die Oper sich deutlich von den Formen des Sprechtheaters bzw. des Schauspiels abgrenzt. Textgrundlage der Oper bilden die sogenannten 'Libretti'. Das Opernlibretto spielt literaturgeschichtlich eine größtenteils unselbstständige Rolle, da der Text in den meisten Fällen der Musik unterworfen wird, so auch in der Epoche des italienischen Belcanto. Folglich darf das Opernlibretto nicht nur im Hinblick auf das Originaldrama beurteilt werden, sondern muss stets in Bezug zur musikalischen Darstellung gesetzt werden. Während ein Teil der Texte von den Librettisten selbst stammt, sind die meisten Opernlibretti des Belcanto jedoch nach einer literarischen Vorlage entstanden. Neben den französischen Dramatikern greifen die Komponisten der Epoche des Belcanto häufig auf die Dramen von Friedrich Schiller zurück. In der vorliegenden Studie soll wird u.a. untersucht, welche Kriterien ein literarisches Werk erfüllen muss, um sich als Grundlage für eine Opernumsetzung zu eignen. Um den Rahmen nicht zu sprengen, konzentriert sie sich dabei auf die drei Schilleropern 'Guglielmo Tell', 'Maria Stuarda' und 'I Masnadieri'. Außerdem wird gezeigt, mit welchen Mitteln es den Librettisten und Komponisten gelingt, ein Drama in ein Libretto bzw. eine Oper umzuwandeln. Das Schaffen einer Textgrundlage für eine musikdramatische Literaturvertonung fordert gezwungenermaßen eine Modifizierung der 'abgeschlossenen' Schauspieldichtung, um auch in der musikalischen Darbietung die szenische Verständlichkeit zu gewährleisten. Eines zentrales Mittel der Umformung ist die Reduzierung auf das Kernmotiv des Dramas, wodurch die 'typische' Opernsituation einer Liebesbeziehung, die durch einen störenden Einfluss von außen in eine Konfliktsituation gerät, ermöglicht wird. Diese Reduzierung verlangt maßgeblich nach ungewöhnlichen Sujets und besonderen Bühnencharakteren. Sowohl
About the Author: Sylvie Langehegermann, M.A., wurde 1983 in Luxemburg geboren. Ihr Studium der Germanistik und der Romanistik (Spanisch und Franzosisch) schloss die Autorin im Jahre 2007 mit dem akademischen Grad der Magistra Artium erfolgreich ab. Wahrend ihres Studiums sammelte sie umfassende praktische Erfahrungen im Bereich der Musik (Klavier und Gesang). Der Wunsch, beide Leidenschaften miteinander zu verbinden, motivierte sie, sich der Thematik des vorliegenden Buches zu widmen."


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Product Details
  • ISBN-13: 9783954255801
  • Publisher: Disserta Verlag
  • Binding: Paperback
  • Language: German
  • Returnable: N
  • Sub Title: Vom Drama zum Opernlibretto
  • Width: 148 mm
  • ISBN-10: 3954255804
  • Publisher Date: 07 Aug 2014
  • Height: 210 mm
  • No of Pages: 220
  • Spine Width: 12 mm
  • Weight: 267 gr


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