Chapter 9 âPrincipessa infelice!â Andromaque in Italian Opera to 1819
In: Racine's AndromaqueSearch for other papers by Richard Parish in
Current site
Google Scholar
PubMed
Purchase instant access (PDF download and unlimited online access):
Purchase instant access (PDF download and unlimited online access):
In the corpus of eighteenth-century Italian operas based on Andromaque, there is an initial predilection for the usually non-appearing role of Astianatte as a title, before a reversion to Andromaca later in the century. However, none of the component works in the tradition of opera seria respects the specifics of Racineâs denouement, with a range of casting inventions introduced in order to avoid the bleak outcome of the original. The moral and aesthetic justifications for these apparent anomalies are explored, together with the intriguing paradox that the most convincing operatic realization of Racineâs neo-classical tragedy, Rossiniâs Ermione, occurs on the threshold of Italian Romanticism.