ABSTRACT

The present work offers an examination of the dramaturgy of the opera La Sonnambula by Vincenzo Bellini and Felice Romani, which went on stage on March 6, 1831 at the Carcano Theatre in Milan, and the most well-known romantic ballet of the nineteenth’s century classic repertory, Giselle, ou les Wilis, a ballet in two acts which went on stage on June 28, 1841 at the Paris Opera House, by the music of Adolphe Adam, choreography by Jean Coralli e Jules Perrot, and libretto by Théophile Gsutier and Jules Henry Vernoy de Saint-Georges. The methodology employed by musicological studies will be transferred to the choreographic design of the ballet, considering the most important scenes of Sonnambula and Giselle, in which it is possible to see the continual transmigration of the literary and musical topoi among opera and ballet-pantomine, two theatrical typologies joined by the musical and sign languages.

BIOGRAFIA

Maria Venuso è dottore di ricerca in Filologia Classica, Cristiana, Medievale e Umanistica greca e latina all’Università Federico II di Napoli. Ha conseguito il Master in Drammaturgia musicale presso la stessa Università. Critico di balletto per il webmagazine «GBopera» e «Campadidanza magazine», è membro AIRDanza (Associazione Italiana per la Ricerca in Danza), SDHS (Society of Dance History Scholars), CORD (The Congress of Research in Dance ) e AAIS (American Association for Italian Studies). mariavenuso@libero.it

DOWNLOAD

Scarica l'articolo Scarica la rivista completa