During the last decades of the Eighteenth Century, various Italian theatrical centres were reached by the fascination of Rousseau's "Pygmalion". Some authors considered with great interest the new proposal and tried to create original works based on the same combination of spoken text, gestures and musical comment. The article lists many "scene liriche" imitating "Pygmalion" and focuses in particular on Alessandro Pepoli's "Pandora". This venetian product, thanks to the availability of the complete score, allows a discussion on the features and problems that characterize the Italian reception of the French model.
Lucio Tufano (2009). La ricezione italiana del melologo «à la» Rousseau e la «Pandora» di Alessandro Pepoli. In D. Colas, A. Di Profio (a cura di), D'une scène à l’autre. L'opéra italien en Europe, vol. 2: La musique à l’épreuve du théâtre (pp. 125-140). Wavre : Mardaga.
La ricezione italiana del melologo «à la» Rousseau e la «Pandora» di Alessandro Pepoli
Lucio Tufano
2009-01-01
Abstract
During the last decades of the Eighteenth Century, various Italian theatrical centres were reached by the fascination of Rousseau's "Pygmalion". Some authors considered with great interest the new proposal and tried to create original works based on the same combination of spoken text, gestures and musical comment. The article lists many "scene liriche" imitating "Pygmalion" and focuses in particular on Alessandro Pepoli's "Pandora". This venetian product, thanks to the availability of the complete score, allows a discussion on the features and problems that characterize the Italian reception of the French model.
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