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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Authors: EDITH GEORGIANA ADETU, PETRUȚA MARIA COROIU.
DOI: 10.24193/subbmusica.2022.1.17
Published Online: 2022-06-30
Published Print: 2022-06-30
pp. 263-276
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Abstract: Donizetti’s opera “Lucrezia Borgia” presents one of the most complex female characters in the history of Italian lyrical theatre – a notable portrait of “femme fatale”. Based on Victor Hugo’s play, Gaetano Donizetti’s creation offers generous interpretation contexts, both from a vocal and a dramaturgic point of view. This article will deal with the particularities of Lucrezia Borgia’s role, underlining the importance of the relationship between vocality and dramaturgy, focusing on the analysis of the main soloist moments.
Key words: Lucrezia Borgia, Donizetti, character, typology, vocality
