The opera Faniska is the only work by Luigi Cherubini to be specially written for the Viennese Court Theaters. After its premiere on 25th February 1806, the opera was performed over many decades in different German-speaking cities. Nevertheless, none of both preserved autographs contain German words: the main source is a complete score based on an Italian libretto, the second autograph consists of few musical numbers which set a French translation of the Italian libretto. The paper discusses Faniska’s musical and textual sources as a preparatory study for the critical edition. In order to understand the relations among the sources, the author reconstructs Faniska’s creative process and the production system of the Viennese Court Theaters during the time Cherubini composed this work. The aim is to explain why the opera was always performed in German, although it was originally composed on an Italian libretto, and for which purpose Cherubini undertook a second version based on a French translation
Faniska è l’unica opera di Luigi Cherubini ad essere stata scritta espressamente per i teatri di corte viennesi. Rappresentata la prima volta il 25 febbraio 1806, essa fu ripresa per decenni in diverse città dell’area germanofona. Ciononostante, nessuno dei due autografi a noi pervenuti è in tedesco: il testimone primario, una partitura completa dell’opera, è basato su un libretto italiano, mentre il secondo autografo, formato da pochi numeri, ne mette in musica una traduzione francese. Il saggio discute le fonti testuali e musicali della Faniska, costituendo uno studio preparatorio per l’edizione critica. Al fine di stabilire le relazioni tra le fonti, l’autrice ricostruisce il processo creativo dell’opera e il sistema produttivo dei teatri di corte viennesi nel periodo in cui Cherubini la compose. Lo scopo è di chiarire perché l’opera fu sempre rappresentata in tedesco, benché originariamente composta su un libretto italiano, e a qual fine Cherubini ne intraprese una seconda versione basata su una traduzione francese.
«Nach dem französischen von Sonnleithner». Questioni storico-filologiche per un’edizione critica della Faniska di Luigi Cherubini
Giada Viviani
2017-01-01
Abstract
The opera Faniska is the only work by Luigi Cherubini to be specially written for the Viennese Court Theaters. After its premiere on 25th February 1806, the opera was performed over many decades in different German-speaking cities. Nevertheless, none of both preserved autographs contain German words: the main source is a complete score based on an Italian libretto, the second autograph consists of few musical numbers which set a French translation of the Italian libretto. The paper discusses Faniska’s musical and textual sources as a preparatory study for the critical edition. In order to understand the relations among the sources, the author reconstructs Faniska’s creative process and the production system of the Viennese Court Theaters during the time Cherubini composed this work. The aim is to explain why the opera was always performed in German, although it was originally composed on an Italian libretto, and for which purpose Cherubini undertook a second version based on a French translationFile | Dimensione | Formato | |
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