Metamorphoses, allegory and mimesis in L'Orfeo by Claudio Monteverdi and Alessandro Striggio

Detalhes bibliográficos
Autor(a) principal: Scarinci, Silvana R
Data de Publicação: 2017
Tipo de documento: Artigo
Idioma: por
Título da fonte: Per Musi
Texto Completo: https://periodicos.ufmg.br/index.php/permusi/article/view/5221
Resumo: This paper presents some thoughts about the construction of opera’s founding character, Orpheus, from the homonymous work from 1607, by Claudio Monteverdi and Alessandro Striggio. At the birth of the new Spectacle, Orpheus was chosen due to his allegorical potential, a fact in direct opposition to a mimetic theory based on Aristotle's Poetics. As an ingenious solution – which guaranteed the triumph of melodrama – Monteverdi and Striggio transform the Singer-poet into a Hero, endowing him with unprecedented individuality, mobile and flexible. The theory of Tragedy supports the creation of dramma per musica, whereas the theme of Ovidian’s transformations seduces the new music composers, bringing the models and necessary tools for the representation of opposite emotions, capable of moving the listeners' souls.
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spelling Metamorphoses, allegory and mimesis in L'Orfeo by Claudio Monteverdi and Alessandro StriggioMetamorfoses, alegoria e mímeses em l’Orfeo de Claudio Monteverdi e Alessandro Striggiomusical mimesismusic of the seventeenth century and metamorphosisOvid and musicmusic and allegorymímeses e músicamúsica do século XVII e metamorfosesOvídio e músicamúsica e alegoriaThis paper presents some thoughts about the construction of opera’s founding character, Orpheus, from the homonymous work from 1607, by Claudio Monteverdi and Alessandro Striggio. At the birth of the new Spectacle, Orpheus was chosen due to his allegorical potential, a fact in direct opposition to a mimetic theory based on Aristotle's Poetics. As an ingenious solution – which guaranteed the triumph of melodrama – Monteverdi and Striggio transform the Singer-poet into a Hero, endowing him with unprecedented individuality, mobile and flexible. The theory of Tragedy supports the creation of dramma per musica, whereas the theme of Ovidian’s transformations seduces the new music composers, bringing the models and necessary tools for the representation of opposite emotions, capable of moving the listeners' souls.Este ensaio traz algumas reflexões sobre a construção do personagem fundador da ópera, Orfeu, da obra homônima de 1607, de Claudio Monteverdi e Alessandro Striggio. Na gênese do novo espetáculo, o personagem foi escolhido graças a seu potencial alegórico, fator que entrava em choque com uma teoria da mímeses baseada na Poética de Aristóteles. Como arguta solução, garantindo o triunfo do melodrama, Monteverdi e Striggio transformam o poeta-cantor em herói, dotando-o de individualidade ímpar, móvel e flexível. A teoria da tragédia ampara a criação do dramma per musica, enquanto o tema das transformações de Ovídio seduz os compositores da nova música e fornecem modelos e ferramentas para a representação dos afetos contrários, capazes de comover a alma do espectador.Universidade Federal de Minas Gerais (UFMG)2017-08-09info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontextoinfo:eu-repo/semantics/otherapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/5221Per Musi; No. 36 (2017): Early MusicPer Musi; Núm. 36 (2017): Early MusicPer Musi; n. 36 (2017): Early Music2317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/permusi/article/view/5221/3244Scarinci, Silvana Rinfo:eu-repo/semantics/openAccess2019-08-11T23:55:03Zoai:periodicos.ufmg.br:article/5221Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2019-08-11T23:55:03Per Musi - Universidade Federal de Minas Gerais (UFMG)false
dc.title.none.fl_str_mv Metamorphoses, allegory and mimesis in L'Orfeo by Claudio Monteverdi and Alessandro Striggio
Metamorfoses, alegoria e mímeses em l’Orfeo de Claudio Monteverdi e Alessandro Striggio
title Metamorphoses, allegory and mimesis in L'Orfeo by Claudio Monteverdi and Alessandro Striggio
spellingShingle Metamorphoses, allegory and mimesis in L'Orfeo by Claudio Monteverdi and Alessandro Striggio
Scarinci, Silvana R
musical mimesis
music of the seventeenth century and metamorphosis
Ovid and music
music and allegory
mímeses e música
música do século XVII e metamorfoses
Ovídio e música
música e alegoria
title_short Metamorphoses, allegory and mimesis in L'Orfeo by Claudio Monteverdi and Alessandro Striggio
title_full Metamorphoses, allegory and mimesis in L'Orfeo by Claudio Monteverdi and Alessandro Striggio
title_fullStr Metamorphoses, allegory and mimesis in L'Orfeo by Claudio Monteverdi and Alessandro Striggio
title_full_unstemmed Metamorphoses, allegory and mimesis in L'Orfeo by Claudio Monteverdi and Alessandro Striggio
title_sort Metamorphoses, allegory and mimesis in L'Orfeo by Claudio Monteverdi and Alessandro Striggio
author Scarinci, Silvana R
author_facet Scarinci, Silvana R
author_role author
dc.contributor.author.fl_str_mv Scarinci, Silvana R
dc.subject.por.fl_str_mv musical mimesis
music of the seventeenth century and metamorphosis
Ovid and music
music and allegory
mímeses e música
música do século XVII e metamorfoses
Ovídio e música
música e alegoria
topic musical mimesis
music of the seventeenth century and metamorphosis
Ovid and music
music and allegory
mímeses e música
música do século XVII e metamorfoses
Ovídio e música
música e alegoria
description This paper presents some thoughts about the construction of opera’s founding character, Orpheus, from the homonymous work from 1607, by Claudio Monteverdi and Alessandro Striggio. At the birth of the new Spectacle, Orpheus was chosen due to his allegorical potential, a fact in direct opposition to a mimetic theory based on Aristotle's Poetics. As an ingenious solution – which guaranteed the triumph of melodrama – Monteverdi and Striggio transform the Singer-poet into a Hero, endowing him with unprecedented individuality, mobile and flexible. The theory of Tragedy supports the creation of dramma per musica, whereas the theme of Ovidian’s transformations seduces the new music composers, bringing the models and necessary tools for the representation of opposite emotions, capable of moving the listeners' souls.
publishDate 2017
dc.date.none.fl_str_mv 2017-08-09
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
texto
info:eu-repo/semantics/other
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/5221
url https://periodicos.ufmg.br/index.php/permusi/article/view/5221
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/5221/3244
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
dc.source.none.fl_str_mv Per Musi; No. 36 (2017): Early Music
Per Musi; Núm. 36 (2017): Early Music
Per Musi; n. 36 (2017): Early Music
2317-6377
1517-7599
reponame:Per Musi
instname:Universidade Federal de Minas Gerais (UFMG)
instacron:UFMG
instname_str Universidade Federal de Minas Gerais (UFMG)
instacron_str UFMG
institution UFMG
reponame_str Per Musi
collection Per Musi
repository.name.fl_str_mv Per Musi - Universidade Federal de Minas Gerais (UFMG)
repository.mail.fl_str_mv antoniom@fgvnf.br||permusi@ufmg.br
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