Music & Dance
An Exploration of the Thematic Shift in Monteverdi’s Operas: A Criticism of Humanity
Document Type
Oral Presentation
Location
Indianapolis, IN
Subject Area
Music & Dance
Start Date
11-4-2014 9:00 AM
End Date
11-4-2014 10:30 AM
Sponsor
Nicholas Johnson (Butler University)
Description
The shift of focus in early opera from mythology to distinct historical incidents was a monumental one, and one that is explored by Claudio Monteverdi in his seventeenth century composing. Through an exploration of one of Monteverdi's most famous operas, L'Orfeo, and his premiere historical opera, L'incoronazione di Poppea, it is clear that the two overarching subjects, mythology and history, are not mutually exclusive. The presence of Love, Virtue, and Fortune – both prominent characters and ideals – serves as a bridge between the natural and supernatural. I contend that the shift from mythology to history is not only presented in the plot, but also projected in human themes within the scope of Love, Virtue, and Fortune.
Much research has been done on the influences of Giovanni Francesco Busenello's libretto of Poppea, including the annals of Tacitus, but it can only be inferred that the prominent society of freethinkers at the time – the Accademia degli Incogniti – played an equally important role. After an examination of the society's creation and its impact on seventeenth century Venice, I contend that their criticism of society was portrayed in the ways Busenello and Monteverdi handled the relationship between the three supernatural forces – Love, Virtue, and Fortune – and the human characters. Furthermore, the contrasting relationship between the same three forces and other godly figures – Orpheus in L'Orfeo, for example – provides an even deeper criticism of humanity.
An Exploration of the Thematic Shift in Monteverdi’s Operas: A Criticism of Humanity
Indianapolis, IN
The shift of focus in early opera from mythology to distinct historical incidents was a monumental one, and one that is explored by Claudio Monteverdi in his seventeenth century composing. Through an exploration of one of Monteverdi's most famous operas, L'Orfeo, and his premiere historical opera, L'incoronazione di Poppea, it is clear that the two overarching subjects, mythology and history, are not mutually exclusive. The presence of Love, Virtue, and Fortune – both prominent characters and ideals – serves as a bridge between the natural and supernatural. I contend that the shift from mythology to history is not only presented in the plot, but also projected in human themes within the scope of Love, Virtue, and Fortune.
Much research has been done on the influences of Giovanni Francesco Busenello's libretto of Poppea, including the annals of Tacitus, but it can only be inferred that the prominent society of freethinkers at the time – the Accademia degli Incogniti – played an equally important role. After an examination of the society's creation and its impact on seventeenth century Venice, I contend that their criticism of society was portrayed in the ways Busenello and Monteverdi handled the relationship between the three supernatural forces – Love, Virtue, and Fortune – and the human characters. Furthermore, the contrasting relationship between the same three forces and other godly figures – Orpheus in L'Orfeo, for example – provides an even deeper criticism of humanity.