piskokrut @ 2008-12-18T17:41:00
Internal vs external?
Verdi resorted to the music scene, however, so topical only in the opening and the effects of the storm. The rest of the drama develops at all pe-culiare around the idea of making the most obvious possible that и ciт or could be re-implicit cornerstone of a drama in which the very visible physical difformitа need to put emphasis on the moral. To this end be realized sfruttт the peculiarities of the music scene in relation to the "music scene" - ie run with ca-insert character of the action by one or more characters, or the chorus, and orchestra in the pit ( as the song "Woman и mobi-le ') - where instead the source и effect, as a rule, quite palese.16 Please read this key in his regret the complaint because it would certainly not allowed to keep a" position "If to no hints of Roi-muse: the scene in which Blanche (Gilda) enters the bedroom King (Duke). The purpose of making explicit and im-plied interact portт also coherent with the composer
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competition also producing a project co-scenes, which were also visually gathered inside and outside two panels: the house of Rigoletto the blind alley of Mantua in the first act (sc. 7-15, cf. the sketches on pp. 12 and 14) on fucking el'osteria Sparafucile in the third (see pp. 31-32). It was difficult, in these circumstances, the task of production designer Joseph Bertoja, that if the cavт, it appears from the sketches and chronicles of the tem ¬ bit, quite brilliantly. The visa affixed on sketches of Ver ¬ и further testimony of his volontа control every detail, as well as the information obtained, held by Piave on how the la-Vori (January 21, 1851, "the young Ca-Prairie [then the driver of the Phoenix - Ed] wants to try his skill in praticabi-li ' ) .17 Of particular importance и the symmetry with which both the paintings in the interior was little, I'm to the left of the beholder, it's feasible el'introduzio-to represent the b-rocket in which Gilda sings "Dear name. The scene is divided into two parts reflected the idea of dramatic work in which the two zones will exchange roles, from positive to negative, in view of Rigoletto: the inside of the house identified with the inner world-to dell'affet father of the protagonist, but the kidnapping of the courtiers, who violates it, engages a process that leads in the fatal-
the tavern, where compirа the tragedy. If you care for verisimilitude led Piave to specify in detail the particulars of the tavern scene (he came to state in the book, the caption of the example Hugo, that the wall that divides the scene in Act III "yes n'и full of cracks from the outside you can easily see what is inside-av '), no less great was the concern of the Greens to make more clear its volontа through the music scene. By extension, therefore, even when utilizzт "The woman и mobile ", a song of the libertine Du-ca of Mantua, as a simple signal re-designed to make him open the sack for Rigoletto as he clasped his hands, he would not conceal-ing the source of the effect, and made visible through the bottom to the Duke the stage can-Tanda. И deadly effect: The plant stage on the relationship between internal and external correspondence is filled with dramatic treatment of the subject-musi-cal, which Verdi controllт to the different levels. In the subtle interaction between the two rooms he was able to create the conditions for the fulfillment of the tragedy.
Benda and lots
"I'm just beautiful
represent this character extremely deformed and ridiculous, and internally passionate and full of love," Verdi well, but in a letter to Marzari-Belliss of 14 December 1850.18 ribadм one of its main movements-there interest for Le Roi s'amuse. Even a direct expression that refers to an opposition between interior and exterior, between appearance and mood here.
But to express this contrast in the work и permeated are also involved two props. When Rigoletto back on his feet, cтlto by bad omens, meet heart-partisans who seek to participate in the kidnapping of the Countess of Ceprano. И a cruel deception, but as told Marullo converses briefly with which to dialogue, "so much darkness in his eyes и null and void", and a key palpated to take him with the intention of belief Cerla и sufficient to induce him to participate in what he believes yet another insult to the injury of a courtier. Because it bites the excuse и plausible: during the party he had commonly derided Ceprano, while the Duke was courting his wife coram populi ("In the lead you / Mr Ceprano?"), The ser ¬ ve perт 'a ghost' so disguise. Instead it is close to the head of a band that "makes the blind and deaf" - as c'infor-hand the courtiers themselves. That band inter-break contacts with the world and yes that is the traumatic return to reality, where the dogs s'allon-tanano with their prey, is a thousand times more atrocious; also cecitа the eye refers to the soul (being the source-ditа less relevant in a bandage, and here used-played at the practical end of making the protagonist-is insensitive to appeals for help of his daughter).
more important still are the implications of the bag, that goes beyond of what is to be-censorship, ie an object is in use to butchers or grocers, and therefore of lower rank, the more symbolically pulled down from the foot of a wretched which pushes a no-bile. It hides the reality for the last time the view of al-clown, and allows him to live for a few terrible moments, a false recon-ciliation with the power testй humiliated. Inside the bag, torn with anger and anxiety indices in bile-hear again Duke, c'и worldwide
of his affections, c'и one daughter who until then had saved the depths of his ani-mo dall'ostilitа the outside world. The game inside / outside и therefore kaleidoscopic Since thousands of threads woven together in a little income fit-frame: there comes a musical signal (the re-taken from "Woman и Mobile) to execute the illusion of Rigoletto, visually represent- sented by a rough bark that covers an area vibrant. И as if it were translated into a movement of the evidence represented.
"Patria! ... family! Friends! ... My и universe in you "
is noted as the backbone of Rigoletto is made up of duets, dialogue form-ing for excellence, but will you look better, and there scoprirа missing that very comparison that they seek, and usually drives up the drama. Dialogue c'и certainly not among pa ¬ mother and daughter in their first meeting he shows his concern for the fate of their precarietа, shall return to-back all the affection with which и capable, and the for-nes , not without hesitation, some scant information about a past that seems almost not to exist, because it canceled in present-you, the only time some-thing that seems to count for him. И given to take into account that the fat-to-titanium pentapar within the structure of the duet (0. Scene 1. Time Attack 2. Adagio 3. Half time 4. Cabaletta), the scene, usually with introductory recitative style action succeed, "is occupied by the great monologue" Pari siamo ", which in turn directly ag-hook prior to the meeting with Shoot-gun, and that the time reason of attack is marked by upbeat orchestra in C major, which accompanies the embrace between father and daughter, this act gives to the track following the taste of an illusion of compliance and peace to all irreale.19 When Father and daughter will once again meet-drawn, in the next, it is quite another и-tation, and those well-founded fear that agitated the fool you are unfailingly translated into reality. Here и a very complex structure, there-
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that I am from the scene in verse (with the c-perception of the insert chorus of courtiers, in verse octosyllabic) 20 is passed directly to a long and principles with the Adagio ' passion-ta confession by Gilda ("All the fe-ste to the temple), a melodic gem in black g-pathetic, that whoever moved-que. Perт not the parent, faced with the failure of his aspirations, cursing that followed:
(Only for the infamy you asked me, O God ... That she would ascend The fallen er'io ... [ ...]) and
и claim alone, a part of a score by eight lines in heroic character, which is well up against the pathetic element of Gilda. Even a few moments later, when и is time to console the daughter just suffered the humiliation, the father does nothing but translate his momentum into an exhortation opera-tion where, once again, takes any responsibility on his shoulders:
weep, maiden, and raids on my heart is crying. However, the full
incomunicabilitа between the two-is even more clear in the cabaletta of this second duet, when Rigoletto mane re-deaf to the cries for pietа and-gift of the girl, from her corner of the stage and launches into a solitary, quivering in death-no for his enemy. Gilda is limited t to resume the melody his father, as he did in the corresponding section of the first duet ("Sleep Woman," - "The affection that his almost !...»), vo-lontа s'annullasse in front of him. In this process the Quartet, in which the clown tries to distract the child from breast-ment of love for the Duke's example, и further confirmation that there is no ac-tion of understanding: the joint opposition to ni- cross-vocal registers (against mezzo soprano and baritone and tenor) and scenic places (inside the tavern with against the deserted bank of the Mincio) и ideal introduction to the third and final duet, when his father not
nothing else to do that recom-lect from dying the last heartbreaking confession ("I loved her too ... now I die for him !...»), and receive an empty consolation tion. The duets
father / daughter are so central to
a dramatic perspective from which Rigo
-bed can almost look at all costs confirmed
me the mark of his loneliness ch'и
was "Solo, deformed, poor." With Duke,
then, there are no duets, neither would make sense:
the only time when ladies are together and fool
и holiday, when sharing
scene with all the other courtiers and exchanging
Biano few wild jokes. Unlike the noble
Monterone, the father plebeian
is not openly claim to justice,
cost of their lives, but acts
would act as his master, even with the limits of his rank
. Moreover
can only mock the fool, and the one-way co can achieve its proposed и sites to use the dagger is a-bank. That is the only duet in which he maintains a real exchange relationship with another character in the play with what и Sparafucile, a great dramatic piece in which every convention jump in the air, being built on a long discussion on par-style lanterns: above the voices of the two parties left a flowing melody in F major of a cello and double bass. Everything и dark, everything и left: the texture of the accompanying ar-chi on a figure-born hosts, plus clarinets and bassoons in the second half, never passes the do3 if not in the final stages, so the items to-gether with the two arches come together in a serious sea of gloom.
This strategy of duets, which lacks a direct comparison between servant and master, en-fatizza then the loneliness of Rigoletto: lack of dialogue with the Duke и the fool to take on a dimension-tional giant, just because it all goes on their way from the beginning. The gentleman
interferirа always the fate of
Rigoletto, but as an immanent volontа.
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