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The birth of Gluck’s Orfeo in 1762 is much more akin to a renewal of drama than to a definitive break from the opera seria genre. Not only are the structures of Italian drama questioned, they also partake in the development of Gluck’s new principles. As far as the emergence of the composer’s thought is concerned, Iphigénie en Tauride is probably the most accomplished of all of the Parisian operas, and perhaps this is the reason why this particular piece establishes a close link with the opera seria. From the relinquishment of the traditional aria da capo to its concise and powerful adaptation, from the new melodic treatment to the renewal of previous works, Gluck smoothes down the previous conflicts with Italian opera. He posits himself as the witness of a formidable evolution of the dramatic forces previously handled for an opera mainly turned towards the predominance of sentiment.

Les Lumières et la culture musicale européenne :

C.W. Gluck

N° 9 g

Julien Garde

Université Jean-Monnet de Saint-Etienne

Iphigénie en Tauride et l’opera seria : entre renoncement et conciliation

Retour

Caroline Giron-Panel
Caroline Giron-Panel - "On peut arriver en Italie en passant par la Bohème"

Sylvie Le Moël
Sylvie Le Moël - Gluck et les publicistes des Lumières allemandes

Eric Scheeman
Eric Scheeman - "Gluck in Paris"

Timothée Picard
Timothée Picard - Gluck, scènes littéraires

Préface

Cécile Champonnois
Cécile Champonnois - Nicolas François Guillard

Julien Garde
Julien Garde - Iphigénie en Tauride et l'opera seria

Laurine Quetin
Laurine Quetin - "Adieu donc mon cher poulet"

Pierre Degott
Pierre Degott - Les fortunes d'Orfeo ed Euridice sur la scène anglaise