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Ópera italiana en San Petersburgo (siglo XVIII). Características de las óperas de Vicente Martín y Soler en el escenario teatral ruso
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Ópera italiana en San Petersburgo (siglo XVIII). Características de las óperas de Vicente Martín y Soler en el escenario teatral ruso
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Journal Article
Ópera italiana en San Petersburgo (siglo XVIII). Características de las óperas de Vicente Martín y Soler en el escenario teatral ruso
2020
Overview
In this article the most significant trends in the development of 18th century Russian Court music are discussed. The era of reforms initiated by Tsar Peter I created the most favourable conditions to allow European music to enter the culture of the Russian Court and wider urban society. Absorption of the genres and forms of European music, specifically Italian, French and German music, blending them with Russian musical traditions, was the principal vector influencing development of national culture during the 18th century. In the reign of Empress Catherine, the Great, these tendencies were exhibited in the works of the Spanish composer, Vicente Martín y Soler. A detailed analysis is made of the genre and stylistic features of the so-called «Russian» operas of this composer associated with the travesty of motives and plots of epic genres; the musical and stylistic features of serious opera are also subjected to comic reinterpretation. El artículo analiza las tendencias más importantes en el desarrollo de la música de la corte rusa del siglo XVIII. La época de las reformas de Pedro I creó las condiciones más favorables para que la música europea hiciera su entrada en la corte rusa y en la cultura urbana. Dominar los géneros y las formas de la música europea (italiana, francesa, alemana) y combinarlos con las tradiciones musicales nacionales es el principal vector de desarrollo de la cultura rusa del Setecientos. Durante el reinado de Catalina la Grande, estas tendencias se manifiestan en las obras del español Vicente Martín y Soler. Las características estilísticas de género de las llamadas «óperas rusas» del compositor, asociadas con la parodia de motivos y tramas de géneros épicos, se someten a un análisis más detallado, pues los rasgos estilísticos de la ópera seria también están sujetos a una reinterpretación cómica.
Publisher
Universidad de Navarra
Subject
