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This opera, Les Horaces, was composed for Paris by the Viennese (but also Italian) Antonio Salieri, on a libretto written by Guillard in 1786. It perfectly illustrates the difficulty of defining the operatic style that prevailed in Europe at the end of the eighteenth century, when the French « tragédie en musique » had undergone considerable change. The libretto suffered in comparison of Corneille, and Salieri’s music did quite match the rules of the « tragédie en musique ». The failure of Les Horaces has to be analysed both in terms of literary and music criticism. Indeed, the fact that the opera was badly received does not mean that it was ill-composed, and by 1786, Salieri’s musical language had already acquired its own specificity. Examples taken from the score will bring such aspects to the fore, and demonstrate that Les Horaces is a lyric drama.

Le compositeur face au texte

N° 4 e

Laurine Quetin

Université de Tours

Les Horaces d'Antonio Salieri et la nouvelle sensibilité musicale européenne

Gérard Loubinoux
Gérard Loubinoux - Le texteface au compositeur

Pascal Balin
Pascal Balin - Les sources antiques des Horaces et des Curiaces

Cécile Champonnois
Cécile Champonnois - Les Horaces et les Curiaces

Laurine Quetin
Laurine Quetin - Les Horaces d'Antinio Salieri

Préface

Tarcisio Balbo
Tarcisio Balbo - La cosrtuzione dell'intreccio nel dramma permusica del Settecento

Pierre Degott
Pierre Degott - Création, re-création et/ou récréation

Julian Rushton
Julian Rushton - Berlioz, Irlande, and English

Arnold Jacobshagen
Arnold Jacobshagen - Leoncavallo, Wagner und der Historismus

Nicolas Moron
Nicolas Moron - Les origines akkadiennes de Sept, ils sont sept

Denis Vermaelen
Denis Vermaelen - Le rossignol et la mort

Albert Gier
Albert Gier - Der Komponist als Arrangeur

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