piskokrut @ 2008-12-18T17:46:00
Gilda in the classic complex of guilt ("you only remains to put ') that, when co-и close to intervene, he added un'artifi-cios fiorettatura litany (" Oh, how ¬ do them, how much pain! "). Much
и written on this duet, above all in relation to overcoming the conventional with-ca-joints between lyrical and ballet, we might add that this "mediation" (C. Dahlhaus) compared to scans of the rigid "usual form" и functionally express the absence of a family relationship, where Gilda is Rigoletto's daughter-object and she (with a rod-nitа front vowel) can not help me-no to have the approval of his father and pro- go with a tender cantabile ("Already three lu-tion '): Rigoletto, but can not hear the girl in the final cabaletta, you forget that you have already confessed to his church in joints and less-yourself shamelessly in front of his father's obstinacy . And even in the cabaletta - formal ideal place to convey clichйmu-Sicali certainly the effect of dissolving - the two ar-Rivano with a sincere: Allegro Rigoletto sings a very moderate chieden-do with Joan to "watch" on his daughter Gilda and waiver to put his idea mu-Sical (waiver to express his point of view), he prefers to repeat mechanically the sixteen measures declined by his father, making it clear how artificial and "with the Convention" is obedience filiare of ra-billed magpie, which esploderа shortly, just re-schooner avrа around the corner. Apparent agreement of more formal in-и place where the duet Guild talks to the Duke. Here the "usual form" is expressed with a more natural course, with lots of hasty cabaletta ("Farewell, farewell the hope and soul") that precisely in with the old-style opera venzionalitа - deplored by many commentators - and character emphatic conclusion of (the two lovers do not seem to want to ever leave) tells the listener that the Duke has in-place full control over the heart of the Guild. But even here, nell'esordio of the duet, the girls-za repeated a fragment of two beats, then imitated orchestra, without fi-ne able to formalize his lyrical episode
then the more beautiful the Duke takes away the rapidly song and vocally imposing its ability to control the girl intonan-do 'the И only the soul. " Gilda, then spar ¬ g more than a music signal that warn-you immaturitа and its incapacity to af-stop his personality: his father prefers to indulge without conviction or be sucked into the silly love cunning of the Duke, because it deprives of a car also have an adverse emotional education that pro-priority father denied her. (In the text of Hugo's love for the mysterious white "knight" is declined verse of genuine self-persuasion: "Except me, women are nothing to him. Think sun-so to me, for him there is no other: neither young people, nor parties, nor His hobbies »!!!) air consumed in the first act, which relies on strong emotivitа with the "no dear-me" finally met my lover (name but denied by her father), и again far from the conventional structure dialectic; и a "Cavatina" in a time only, with odd shape changes, functional to allow free rein to the inner flowers (note : always on the "name of Walter): in other words, the inevitable и fantasize about a teenager who arrived unguarded tools amorous encounter, he lost all control and expresses its total liabilities.
When, after the crime, Rigoletto discovers her daughter in the halls of Duke, the latter concentrated in her grief, does not have time to tell us what you feel, now that he has finally given a "social face" to his father by Rigoletto says its great, makes the hard way, by him to throw some curse against Duke (same melodic modules used by Monterone), perhaps just trying to look in the eyes of his daughter in a situation of force ("If the Duke vo -ter of near them dared, / That he does not come, tell him! and I are "sealed by the most obvious of harmonic effects, a perfect cadence, which assumes a redefinition of se-miotic great power and authority ...). Left alone, Gilda test-sa painful effort to tell the father his encounter with true love just behind the rapid
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Rigoletto and chin after a separate application to rely upon God did not better than to bring her daughter to tears, without being in a "real-tier" clash of opposites, feelings, and once again the cabaletta (which, as we have already seen, it works a bit 'a litmus test of the relationship) the music does nothing to distinguish these opposi-tions.
And if the formal articulation of the duet can not get to the bottom и so-cially because it passes the cantabile Guild seamless continuity from the description of the kidnapping of Gualtiero to that without putting a direct knowledge against In-between the two lovers as in the second scene of Act III of Le Roi s' a-muse. Here the meeting between White and Re-ren de manifest the degree of involvement of the girl and, because it not, even the young know-Vrana. She и speechless when she discovers that the instigator of the kidnapping и his schoolboy bit-true and proves to be much more shrewd and wise than you might think, well able to evaluate the inconsistency of any promise by a powerful ('Tut This game-to и, и is not it? "), who in turn let out the bitter consist-ing of being sucked into a spiral of social convention ("[...] if I'm the king, this is not a good reason for и c-catch me with so much hate! If I had the good fortune to be born poor , but that ¬ c'и? "). A duet therefore important to understand how are the events of the third act of Rigoletto, but unfortunately a duet to be packed in the background of the bedroom and with a couple of hints - if you must keep the text Vole-wise Hugo - that certainly would not be passed free of the watchful eye of censorship Austrian based in Venice.
that censorship imposed by his non-chi little sacrifices to the gestation of the book of Rigoletto (you knows by King Francis Hugo to the Duke of Mantua di Piave, and then several chan-ges in the title, etc. ..), the Imperial Royal Central Directorate of Public Order if made directly with the leaders of the Venetian theater, even if it was Verdi himself, a man of the world that he was, to control for
Obedient Piave behalf of the court to quash the scene where the King away from his pocket a nice golden key and is preparing to en-trated in room where he had slipped the virgin kidnapped.
should find something more modest and remove this fotisterio too evi-dent. Remove the key suggests that the i-fucking goddess ... et et ... Oh God! But these things are simple, natural, but the patriarch can not more enjoy the idea! A cut that
continuт to gnaw the memory of Verdi and to suffer some especially his sprite anticlerical rebel, but also - I like to gamble today - its dramatic feeling shiny, giacchй to work completed to continue asking questions, always writing all'insepa- rable Piave
a new piece there would be more. In fact must find a position? The verses and the notes-it can do, but would always be ineffective since there и position: there is one, but God save us; saressimo flagellates. Gilda would need-to see the Duke in his bedroom! Do you understand me? In all cases it would be a duet. Wonderful duet! But the priests, the hypocrites would cry at the Scandinavian
... Just in the last verses of the closing of the second act cabaletta Guild continues to repeat between sй to love the Duke, and their re-lation continues ideally during the interval in-between the two acts (by Hugo, we know that the girl went with seraphic love affair bea-tude, "You see - there ¬ of his father - he loves me, he confessed and promised him even the day before and she feels ready to do anything for this love - 'I'd be ready to die for him as for you "). Under the weight of such hallucinations love-tions ranging from sй the architect of the quartet scene with the Duke-dence between the arms of Mary Magdalene Rigoletto and spied upon by Gil-da contributes not to take a firm position and rational but accelerates the process
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explosive internal and claims under the assaults of the storm Gilda luciditа consumed in the "madness" its pointless suicide. When Rigoletto finds it in his arms dying Gilda have the courage (brave) to ask for forgiveness not only for her, but also the Duke: GILDA
V'ho deceived! I was guilty! I loved her too! Now I die for him!
ports of force imposed by men who have no-managed and consumed her life. If the Du-ca и conquassare arrived in his soul and his right to the point, because of still и Rigoletto, which, albeit in good faith, и concerned to preserve the child from the outside world but not sй same. (And the virgins, you know, should not be kept under a bell jar.)
Greens before the agreements on a melody with long-dulante arpeggios acute-reacts taken the step to heaven, where - according to the Convention opera - potrа finally embrace his mother. The madness of suicide и in reality the only choice-ta finally emancipated from the Guild representative
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