Verdi's construction of drama and tinta: the expanded role of the father figure in La traviata Public Deposited
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- Last Modified
- March 22, 2019
Hughes, Catherine A.
- Affiliation: College of Arts and Sciences, Department of Music
- The cavatina for Germont in Act II of La traviata does not have an analogous moment in the Alexandre Dumas fils play, La dame aux camlias, which Giuseppe Verdi and Francesco Maria Piave adapted to create their opera. The aria satisfies the operatic convention that each of the three central characters in the opera-- the soprano, the tenor, and the bass-- should have an aria, and its construction reflects conventional formal organization. At the same time, Verdi's musical treatment of the conflict between Germont's bourgeois sensibilities and his sympathy for Violetta is a vital component of the unfolding drama, of the development of an expanded father figure, and of Verdi's use of tinta to construct through music the geographical and social setting in which the drama unfolds.
- Date of publication
- August 2010
- Resource type
- Rights statement
- In Copyright
- "... in partial fulfillment of the requirements for the degree of Master of the Arts in the Department of Music."
- Nádas, John Louis
- Degree granting institution
- University of North Carolina at Chapel Hill
- Place of publication
- Chapel Hill, NC
- Open access
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|Verdi's construction of drama and tinta : the expanded role of the father figure in La traviata||2019-04-12||Public||