"Iphigenie en Tauride," Gluck's poetic wonder of affection Gajardo, high fascination, et inzembra (1) the emotional saccenza (2) in front of haver na mondizia absolute peak of (3) obtained from the art, every hour it (4) rapiscon al'ascolto of "Iphigenie en Tauride." Which Edi (5) the deed sezzaia (6), avec la vague "Echo and Narcissus," by Christoph Willibald Gluck went to the scene, the year of grace 1779: poster postrema und Gluck-fulfillment of the "reform" d ' el drama musical, with ol (7) lettered Raniero de 'Calzabigi (8) y known to elaborate theorized, tres (9) ennante decades,' n the preface to '"Orfeo ed Euridice" of el Alamanno Musiker (10). Giera (11) Understanding, dicta "reform," against the abuse of el vocal virtuosity al'italiana; against the feoffment subordinationists et de l'afflatus maker in hedonism singing half-naked: madness, chist'utema (12 ), one of Decadence 'n between + Sumptuous, und even kinky, de l'historia d'el tiatro 'n MUSEC: Mon lu tiempo beginning to present. Ol vocalism late eighteenth-century L'Italiano serious deed - the contents of the Old and the de-Roman mythology greek frustrated Vacuum stereotyped formulas reduced, redundant factories from papier-mache 'content henceforth prohibit aut atrophied tutt'affatto - libravasi' n hallucinated spasms ornamental: in such a voracious as sderenata (13) bieltade (14). Risen to supernal chance de 'artistic narcissism k'accompagnano et ab ovo celebrate and adorn the depletion of the gorgeous and followers of' mannerisms, the deed serious hopes dera (15) to a civiltade atque atque vitaiola aristocratic society, on the k'in Daemmerung d'el Seculo diecim'ottavo s'accomiatava from the historia: 'n el isconnesso swirling, ethical & aesthetic of a jig tumida Epicurean. The raison d'etre of the "reform" of Gluck risiedea onninamente 'n voglienza to revive the axiom in the poem text litterario et ol; to inhibit lu hand tinsel and UNGA will connect to the hysterical But in a indissoluble manera needs Dramatic de l'action; voglienza of the exalted role of the choir, to give an austere lu "recitative" to have the incunabula et de l 'air', to restore the pristine solemnity of el declaimed y aut rationalize censorship pantomimic et choreographic elements (16). The ancient greek and Roman mythology and would avec Gluck ascend due to 'values \u200b\u200bde la +' ncontaminata Fulgenzi moral: it fate, au contraire, a mantle funèbre, if x k to a corrupt world the operatic genre, the freeing ' n by the end of the scale of 'shameless hedonistic senility, x sanctioned another, across ol un'astrazion of intellectual rigor d'el musico language, simulation, the death mask of the deed istessa. Under this respect, "Iphigenie en Tauride" in the guise delineasi + unreal and the larval de selfsame deeds "in crisis" of them Italian composers, or true Italianized, de la postrema baroque decadence. Lords 'n the static elastic +' mponente; atque constant aspiration to constantly xseguita Edi lu "sublime." The xsonaggi is dazzled fonno spirits, 'n el while the tragic events they engender contradictions nn ac contender (17) mundane but longhi immense spiritual streams them as' n el cielo de l'universal s'espandon und vanish. The heroes chiste glukiano valgon divinity poetic masterpiece 'of a nl'aureola MUSEC to the Summo balanced ideals transcended in the space of a provocative and ineffable castimonia. Elle vibrates in a mysterious cosmic religious pathos, or reverse lay hidden from the liturgies the deed of serious Italian. Nn cchiù puppets, the xsonaggi, nn or-miss Ellin und attengon in the flesh to 'the nerve of man, et al paro, the MUSEC, ancorké vocalist freed from the abuse, not even xe el al'espression of concrete time: in fact, despises chiddu, ignoring him, making aut slightest thing: lu crushed under a great weight of pathos dehumanized, clotted. Manera nos in 'chilli mpari from sentimental motions by Gluck tapered' n atoms el starry void, the fast-paced action, he would have had to do ke 'reformist intentions it returns to a roll (18) leading, extinguished or the reason flight un'ispecie of inzzogno (19): kon, the final projection in a lyrical stasis. "Iphigenie en Tauride" mustra al'oratorio to aspire, and ol tiatro receives the final of the death penalty sentence. + Neighbor in Monteverdi Mozart contemporary kha lu, lu Höhepunkte (20) of the Gluck there epicedium sings of a tradition: since the will sing the Wagnerian drama 'n el Seculo avenir, und deed the expressions of Alban Berg in el Nosso: deeds held, very aspects x, x "progressive" and "reformist": 'n true archetypes déracinés (21) sanz'avenire, protagonists of the applicants Aguni (22) de la Historia de l'art og ( 23) d'el musical taste. ************************************************** *********************************** NOTES - (1) ensemble (2) "awareness", sec. XIII (3) "purity", arc. (4) "there" (5) "is" cal. (6) "last", P. Bembo (7) "the 'berg. (8) Tombeur de femmes, x girandolone Europe, valuable intellectual, poet, librettist und decent in Livorno birth nor the year 1714 et Napule expert in it the year 1795, afterwards essuto be in Vienna the emperor's advice x them more especially financial stores. (9) "three", spag. (10) "German", G. d'Arezzo (11) "was", ant. patav. (12) "last", nap. (13) "exhausted", Roma. (14) "beauty", arc. (15) "mirror" arc. (16) yet the aristocratic Venetian Benedetto Marcello, a magistrate, lettered ac emeritus composer, he wrote memorable lu d'el 1720 "The theater fashioned whims and puts them in ridicule them Ticchi de 'singers, composers,' mpresari, etc ...: in sum: the distortions dimolte de l ' Itala musical life (17) "contrasts" ant. (18) "role" (19) "dream", Roma. (20) "summit," Ger. (21) "disoriented", fr. (22) "agony", nap. (23) "e", Norvir.
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