AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Autori: TRAIAN ICHIM.
DOI: 10.24193/subbmusica.2023.2.18
Published Online: 2023-12-30
Published Print: 2023-12-30
pp. 257-266
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Abstract: For a conductor the text of the score is that building material used in the creation of “his own world”. This paper examines the system of means used by a conductor in creating an opera performance. A transformation of the “mobile” and “fixed” elements of the score into a magnificent world of opera performance. The study is based on material from a production of the opera Orpheus by Claudio Monteverdi, directed by Jean-Pierre Ponnelle, conductor being Nikolaus Harnoncourt. This staging can certainly be considered one of the most striking examples of the remarkable interplay between conductor and director in an opera production. Each new revised edition of different opera titles, over the centuries, becomes the product of the personal vision of the creators, acting from the point of view of the aesthetics of its time.
Keywords: opera performance, conductor, compositional techniques, analysis, Orpheus by Claudio Monteverdi.
