![]() ![]() ![]() This paper aims to analyse why and how an Italian court composer chose to set to music a poem on this topic. ![]() Rugge quasi leon stands out amongst them for its topic - a lament of the fratricide of the two brothers of the Ottoman Sultan Murat IV, a feared foreign enemy. Luigi Rossi worked in Rome under the Borghese and Barberini patronages for most of his life, and his extant identified vocal pieces are c. Rugge quasi leon - otherwise known as the Lament of Mustafa and Bajazet, is a chamber cantata composed by Luigi Rossi, one of the most important Italian composers of the first half of the 17th century. In keeping with Joli’s capricci, which all deploy the same structural motif, Cajo Mario incorporates a narrative structure through which the ‘parallel universe’ of related works imposes itself on the opera’s setting and action, making spectators wonder – as a character does in the course of the opera – whether they are gazing at an event from republican Rome or reliving a legend from ancient Greece. By juxtaposing Jommelli’s score and Gaetano Roccaforte’s libretto with a set of six paintings by the contemporary artist Antonio Joli (c1700–1777), it aims to show how Cajo Mario shares compositional strategies with a connoisseur’s genre in the fine arts: the capriccio. This essay seeks to clarify the reasons for that remarkable success. Thus configured, Jommelli’s opera held the stage until 1772, enjoying fifteen revivals with most of the original music intact – a record in the composer’s oeuvre. Instead, the opera transposes the myth of Iphigenia in Aulis to the Roman Republic, having Marius, his daughter, her lover and her villainous suitor assume the roles of Agamemnon, Iphigenia, Achilles and Ajax respectively. In contrast to what its title suggests, Niccolo` Jommelli’s Cajo Mario (Rome, 1746) has little to do with the consul Caius Marius (157–86 BC). ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |