L'iconographie des premiers opéras-ballets l'exemple des gravures frontispices de François Ertinger dans le "Recueil général des opéras", 1703
The design of the frontispieces of opera libretti has received little attention from musicologists and art historians. An analysis of three examples of the genre ‘opéra-ballet’ (Le ballet des saisons, L’Europe galante, and Le triomphe des arts), published in the monumental Recueil general des opéras...
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Veröffentlicht in: | Imago musicae / publ. under the auspices of RIdIM and the International Council for Traditional Music (ICTM) |
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Format: | UnknownFormat |
Sprache: | ita |
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2024
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Zusammenfassung: | The design of the frontispieces of opera libretti has received little attention from musicologists and art historians. An analysis of three examples of the genre ‘opéra-ballet’ (Le ballet des saisons, L’Europe galante, and Le triomphe des arts), published in the monumental Recueil general des opéras (Paris: Christophe Ballard, 1703), shows that these graphics were much more than simple illustrations. Instead, they allow us to draw conclusions about the development of the genre at the turn of the 17th and 18th centuries. The German engraver Franz Ertinger (1640–1710), who worked mainly in Antwerp before settling in Paris, did not limit himself to illustrating the respective subjects, but found different solutions for the three works in question. The aim of this paper is to elucidate Ertinger’s choices in the light of various iconographic models (tragedy frontispieces, the allegorical tradition) and comparative examples (his own earlier illustrations for Ovid’s Metamorphoses, the opera illustrations engraved by his Dutch colleagues, etc.). The variety of solutions is a reflection of the unprecedented nature of the ‘opéra-ballet’. Beyond this diversity, as the first official collection dedicated to this genre, the iconographic choices contribute, each in its own way, to the canonical image of opera as expressed by the Recueil. |
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Beschreibung: | Illustrationen |
ISSN: | 0255-8831 |