In the literary production of Tomasi di Lampedusa and especially in The Leopard the anti-melodramatic stance stems both from the author’s dislike of an “explicit aesthetics” and from the fact that nineteenth-century opera had turned into a symbol for the Risorgimento and, for Tomasi, all its deformities. Instead, Tomasi prefers more complex musical solutions such as Wagner’s dramas or nostalgic musical works (sacred and instrumental music and compositions by Mozart), vestiges of that aristocratic childhood world beyond the writer’s grasp.
Nella produzione di Tomasi di Lampedusa, e soprattutto nel Gattopardo, la polemica antimelodrammatica ha un duplice movente: da un lato, il rifiuto dell’estetica dell’‘esplicito’, dall’altro, il fatto che l’opera ottocentesca fosse assurta a simbolo del Risorgimento e, per Tomasi, delle sue storture. A quelle del melodramma vengono contrapposte soluzioni musicali o più complesse come i drammi di Wagner, o connotate in senso nostalgico (musica sacra, strumentale, opere di Mozart), in quanto vestigia dell’irrecuperabile mondo aristocratico dell’infanzia lampedusiana.
Il carillon del Principe: Lampedusa e l'opera (con un prologo balzachiano e un epilogo camilleriano)
DANTI, LUCA
2017-01-01
Abstract
In the literary production of Tomasi di Lampedusa and especially in The Leopard the anti-melodramatic stance stems both from the author’s dislike of an “explicit aesthetics” and from the fact that nineteenth-century opera had turned into a symbol for the Risorgimento and, for Tomasi, all its deformities. Instead, Tomasi prefers more complex musical solutions such as Wagner’s dramas or nostalgic musical works (sacred and instrumental music and compositions by Mozart), vestiges of that aristocratic childhood world beyond the writer’s grasp.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
