piskokrut @ 2008-12-18T17:46:00
I find [...] represent this wonderful character, I am deformed and re-DiCola externally and internally passionate and pie-no love.
well look at Verdi Rigoletto: jester gener-ated, cynical, cruel and socially very least, that feeds its degradation while holding sй hidden within the sacred feeling of paternal love. This maceration-feelings led him to his rare-esaspe role of instigator and director of the depravity of the Duke and his court-mantle vain enough to attract the head of the "curse-tion" of another father (Monterone) and Birne-the most tragic consequences of the "suicide" of her daughter. The curse, therefore, as the engine of drama launched in the early scenes, av-verted after the abduction of Rigoletto's daughter-trick and end-ing inevitably suffered. On
centralitа the curse had already said everything Hugo final delivery printed (1846) Le Roi his s'amuse extraordinary source of Rigoletto. The release after more than a decade by one-ne apparitions on the stage play, short inter-route: it was not permissible for the complaint to pillory the assessment of co-published in Paris a buffoon that corrupts the king, "brutalizes him [... ], urges him to disturb the families of the nobles of the court, shows him constantly re-seduce the wife, sister to kidnap his daughter from dishonor-king. " Then this would end up re-cer care for the prostitutes in the slums of Paris is the play-ceva "work immoral." Hugo And thus, in print his dramas, the story does not pass in silence some buildings-
songs King Francis I and Bianca, the daughter of the clown, and focuses all attention on the latter, or rather the curse of a father scorned to another father, who, ahimи, can not even save his daughter now lost in the "madness" of love. And Verdi, writing enthusiastically INS comparability Piave about the topic of the new opera for the Teatro La Fenice is not that pa-rafrasare the words of the French playwright Committee. The whole subject
и in the curse that becomes moral. A wretched father who cries the honor taken away from her daughter-so deriving from a court jester that the male-father says, and this curse in a way that captures the scary clown, I think the great moral and very high.
But the curse by itself justify the complex path-co-musical dramatists guild leading to suicide? What we can understand his point of view of domestic violence that goes beyond the macro-scopic affected on the scene - which was not uncommon at the time as well, given its social condition?
backed by some variation of musicology а la mode (there is something for everyone: the anthropology of receipt, gender studies, with the prejudices of the "female-ste" - or queer studies - on the side of homosexuals) would like to try re-reads the drama through the eyes of Gilda, sando confession of a sense of embarrassment in front of his crazy suicide mind-set polished in place to save a lover (not worth bothering all the judgments of wickedness that is continue to work
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to the poor Duke, who was also disconnected soul in that fund would be able to prove genuine feelings of love, are hindered by the libertine's role required that и - first of all from Rigoletto - to keep their striking posi-tion of powers and of those who can subvert any moral good), a lover who has apparently just "gambled" with the His candor and saturated also no-able if the ladies do with prostitutes. But the perception of a wholesale character of the internal conventions of melodrama и a complicated matter that obvious step-mind through the words with which you express him / herself but also - and above all - through the arrangements with which they are seconded or deformed or altered, the clichй of musical forms. All
и already been said. Rigoletto constantly having to fight with the word on - is another virtue that self-recognition - mostly used ductile trends, spez-ised and free of declamation, where the word и sometimes thrown out with anger at times melodic lines in pla-smat , and even when forced into a limited number of и in-cheating shape tearing continues, the lack of psychological and emotional stability. On the contrary, the Duke moves without any sense of guilt among the game's identification in a poor student and the potential role of depraved you, using the occasion as well a "customary form" for the pathetic air (beginning the second act), or a reason to Canzo-net without pretensions or almost irreverent bill ("The woman и mobile 'of the fine ¬, which is crucial for the redevelopment of our eyes, the perception of the character, conditions, precisely, from the air "seems to me there-der the tears).
Easy, then, to perceive within the code melodic and formal that the two per-sonalities (as any baritone and tenor in the conventions of the melodramatic scene) are mutually antagonistic (but constrained by the social chasm of difference not to a comparison never in a duet) and en-trambi aim (for different reasons, of course) to 'own' Guild. Yes, because it bounces back immediately with the duet of the first act
possessivitа which Rigoletto "manages" the relationship with her daughter (a so-compared, perhaps to do with the "madness" at the end of the Guild), "opens with key [ another key instead verrа censored], and enters the short-to "of the house where keep it segregated, having crushed the soul, cursing the heavens, and trusting the extreme disappointment and annihilation of its existence. The duet ¬ arisen to contrast with all the semantic resources of happy voltage (energy rhythm orchestra light and shade plant), which maintains our high voltage before the meeting. Gilda does not sing but his plea does not make mu-Sical a different idea from Rigoletto, the impression that you prefer и reflect (but are not convinced to the end) ideas (musical) father, because it "immatu-ra" and not prepared for a direct comparison. Well, after the events-ably toyed (Gilda: "Oh what love!" / Rigoletto: "You are my life") on schematic melodic descendants I like, bit-enough that direct questions to precipitate all in repeated chords in the grave Having done away with the trills in the orchestra. Who am I? What's your name? И About my fa-miles? - Asks Gilda (hard to imagine a re-filial relationship that does not involve nep-well aware of the "name" - a word that instead of the girl intonerа lм little far from turning to love). Rigoletto by no answer: only the prohibition not to leave the house. Guild urges calls her mother confiding in-the seduction of a melodic singing pure and innocent (almost as an echo of the church), but the injury to egor-Rigoletto translates into a dog safe drinking when you are crying for him to know- the woman so dear and sweet and good for the most had the courage to love-him (which the mothers never appear и a topos of the nineteenth century melodrama and functional the distillation of the trio soprano and two antagonists - that he, she or the other parent, she and him - both to reflect the condition tere-the patriarch of a company than anything else, take the trouble to hand-write and tuttele Mother in heaven and in trans-marle guardian angels), Ben
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