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The article examines Händel’s Orlando (London, King’s Theatre in the Haymarket, 1733) and the changes made by the composer and an unknown librettist to the plot of its source : Carlo Sigismondo Capeci’s Orlando, overo la gelosa pazzia (Rome, Theatre of Queen Maria Casimira of Poland, 1711), set to music by Domenico Scarlatti. The analysis is based on a model proposed by Gilles De Van for the drammi per musica by Pietro Metastasio. The model is based on the co-presence in the drama of more than an action (usually three), hierarchically organized, differently oriented, and differently perceived by the audience. The changes made by Händel for his Orlando – first of all the substitution of two characters from Capeci (the knight Zerbino and the princess Isabella) with a new one (the magician Zoroastro) – show how the model proposed by De Van could be known by the composer and his entourage, and can be perhaps applied in general to the eighteenth-century dramma per musica.

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N° 4 f

Tarcisio Balbo

Istituto Superiore di Studi Musicali "Orizio Vecchi", Modena

La costruzione dell'intreccio nel dramma per musica del Settecento : Il caso dell'Orlando di Händel

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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