III. PRAYERS OF FEMALE PROTAGONISTS IN GIUSEPPE VERDI’S OPERAS. LUCREZIA’S CAVATINA – “TU AL CUI SGUARDO ONNIPOSSENTE” (ACT I, SCENE 2) FROM VERDI’S „I DUE FOSCARI”
With this analysis the author continues with the presentation of the prayers of female protagonists[1] from Giuseppe Verdi’s operas, a lesser-known topic within the vast bibliography dedicated to the oeuvre of the great Italian Maestro. After presenting prayers from Nabucco and I Lombardi alla prim...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Babeș-Bolyai University
2016-06-01
|
| Series: | Studia Universitatis Babeş-Bolyai. Musica |
| Subjects: | |
| Online Access: | http://193.231.18.162/index.php/subbmusica/article/view/5133 |
| Summary: | With this analysis the author continues with the presentation of the prayers of female protagonists[1] from Giuseppe Verdi’s operas, a lesser-known topic within the vast bibliography dedicated to the oeuvre of the great Italian Maestro. After presenting prayers from Nabucco and I Lombardi alla prima crociata, the author now addresses a less conspicuous prayer "hidden" in the pages of I due Foscari: Lucrezia Contarini’s Cavatina (with its bel canto traits and featuring a female choir). Further analyses published in this series will shed light upon well-known examples of preghiere – such as famous prayers of Leonora from La Forza del Destino –, as well as other arias which bear further bel canto influences (preghiere from Giovanna d'Arco and Stiffelio), but also illustrating how the musical language of female prayers has transformed in Verdi's more mature operatic works, such as Aida and Otello.
[1] The aforementioned analyses focus only on prayers uttered to divinities (both in Christian and pagan contexts), saints or the Virgin Mary, but exclude prayers addressed to the dead (e.g. Lina’s second act prayer from Stiffelio – Ah, dagli scanni eterei).
|
|---|---|
| ISSN: | 1844-4369 2065-9628 |