In opera, human feelings are sung. Until Rossini, operatic plots described emotions in an abstract way: love, hatred, jealousy, envy, pride, considered as categories. With the emergence of romanticism, the focus turns to the situation of a specific character, who reacts to other characters who are also individualised. Romanticism exchanges the AFFAIRS of classicism for true PASSION.
This portrayal of feeling as the main cause of the character’s behaviour is done at the cost of blurring the environment. Nature is a mere backdrop and the historical setting is of interest not for its authenticity, but as a trigger for the psychological shudders of the protagonists. In the opera, the Middle Ages are made of papier-mâché.
This project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
© History Lab. All Rights Reserved.
Developed by JASBAT: IT Services
Developed by JASBAT: IT Services