Haydn, Goldoni, and Il mondo della luna
1984; Johns Hopkins University Press; Volume: 17; Issue: 3 Linguagem: Inglês
10.2307/2738171
ISSN1086-315X
Autores Tópico(s)Historical Geography and Cartography
ResumoIN THE NINETEENTH AND MUCH OF THE TWENTIETH CENTURIES, Haydn's operas were completely overshadowed by those of his younger contemporary, Mozart. This was due in part to the lack of complete and reliable scores. Now Haydn's Works, published by the Joseph Haydn Institut, Cologne, under the general editorship of Georg Feder, is nearing completion. It is not surprising, then, that at the International Joseph Haydn Congress held in 1982 in Vienna to commemorate the 250th anniversary of the composer's birth, the largest number of papers was devoted to Haydn's stage works. The operas continue to attract the attention of the general public as well, especially since being recently issued in a complete set of recorded performances under the direction of Antal Dorati. Thus readily available, Haydn's II mondo della luna (1777) has emerged as one of the master's finest efforts, and probably the best of his Italian operas. II mondo della luna was designated by Haydn as a dramma giocoso. This was once thought to be an expression no more specific than comic opera, for the term appears frequently on scores and librettos of the late eighteenth century. But Daniel Heartz, in a series of articles written in the 1970s, has shown that there were two distinct types of Italian opera in the Classic period: those made up exclusively of characters (and in which, understandably, the plots were on the light side), and the dramma giocoso, in which serious characters also appeared. Of course, opera with only serious characters-dramma per musica as its greatest librettist, Metastasio, called it-was the other great possibility. But it was
Referência(s)