1578/5000 Romeo and Juliet, according to the New Grove of Opera, also released in 1992, had twenty-five intonations. In this work the list has been extended thirty-two, from 1773 to 1991, also counting texts that refer to the myth as it is narrated in the main Italian sources of Shakespeare - the novellas of Da Porto (1530) and Bandello (1554) - and dramas that act as a link between the Bard and the romantic era, like that of Jean-François Ducis - Roméo et Juliette (1772). At the conference held on the island of San Giorgio maggiore, in Venice, scholars established in various disciplines worked together with a group of young people who brought a note of freshness. It was then decided to treat only the operas, excluding the dances (among which Romeo i Džul'etta of Prokof'ev looms) and the instrumental and vocal music (thus missing the symphonie dramatique of Berlioz, of which the track gives us the essay by Gallagher), with the exception of Cajkovskij, leaving a tantalizing space for Shakespearean projects missed by a French musician of the caliber of Massenet, and iconographic representations. The book goes to fill a gap: this is the first volume with several voices, in fact, which deals with various aspects of a single masterpiece that has left its mark in every time and every age and in all the arts, including cinema - from the classic film by Zeffirelli (1968) to the modern reworking of William Shakespeare's Romeo & Juliet by Baz Luhrmann (1996) - and that as a myth he lives and will always live new adventures.

Romeo and Juliet, secondo il New Grove of Opera, uscito peraltro nel 1992, contava venticinque intonazioni. In questo lavoro la lista è stata allargata trentadue, dal 1773 al 1991, contando anche testi che si rifanno al mito per come è narrato nelle principali fonti italiane di Shakespeare – le novelle di Da Porto (1530) e Bandello (1554) – e drammi che fungono da tramite fra il Bardo e l’epoca romantica, come quello di Jean-François Ducis – Roméo et Juliette (1772) . Al convegno tenutosi nell'isola di San Giorgio maggiore, a Venezia, studiosi affermati in varie discipline hanno lavorato insieme a un nucleo di giovani che hanno portato una nota di freschezza. Si è poi scelto di trattare solo le opere liriche, escludendo i balli (fra cui giganteggia Romeo i Džul’etta di Prokof’ev) e la musica strumentale e vocale (dunque manca la symphonie dramatique di Berlioz, di cui ci fornisce una traccia il saggio di Gallagher), con l’eccezione di Cˇ ajkovskij, lasciando uno spazio stuzzicante a progetti shakespeariani mancati da parte di un musicista francese del calibro di Massenet, e alle rappresentazioni iconografiche. Il libro va a colmare una lacuna: è questo il primo volume a più voci, infatti, che affronta con una certa ampiezza diversi adattamenti di un solo capolavoro che ha lasciato traccia in ogni tempo e ogni epoca e in tutte le arti, compreso il cinema – dalla classica pellicola di Zeffirelli (1968) alla rielaborazione in chiave moderna William Shakespeare’s Romeo + Juliet di Baz Luhrmann (1996) –, e che come mito vive e vivrà sempre nuove avventure.

Shakespeare all’opera: riscritture e allestimenti di «Romeo e Giulietta»

Michele Girardi
2018-01-01

Abstract

1578/5000 Romeo and Juliet, according to the New Grove of Opera, also released in 1992, had twenty-five intonations. In this work the list has been extended thirty-two, from 1773 to 1991, also counting texts that refer to the myth as it is narrated in the main Italian sources of Shakespeare - the novellas of Da Porto (1530) and Bandello (1554) - and dramas that act as a link between the Bard and the romantic era, like that of Jean-François Ducis - Roméo et Juliette (1772). At the conference held on the island of San Giorgio maggiore, in Venice, scholars established in various disciplines worked together with a group of young people who brought a note of freshness. It was then decided to treat only the operas, excluding the dances (among which Romeo i Džul'etta of Prokof'ev looms) and the instrumental and vocal music (thus missing the symphonie dramatique of Berlioz, of which the track gives us the essay by Gallagher), with the exception of Cajkovskij, leaving a tantalizing space for Shakespearean projects missed by a French musician of the caliber of Massenet, and iconographic representations. The book goes to fill a gap: this is the first volume with several voices, in fact, which deals with various aspects of a single masterpiece that has left its mark in every time and every age and in all the arts, including cinema - from the classic film by Zeffirelli (1968) to the modern reworking of William Shakespeare's Romeo & Juliet by Baz Luhrmann (1996) - and that as a myth he lives and will always live new adventures.
2018
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/3707172
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