Un opéra français d’après la Salomé de Wilde, l’appropriation d’un drame
Evoked and revisited numerous times over the centuries since its origin in the Bible, the story of Salome was approached in a completely innovative way by Oscar Wilde at the end of the nineteenth century. By placing the young Judean princess at the heart of the drama and using, in keeping with other...
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| Format: | Article |
| Language: | English |
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Presses Universitaires de la Méditerranée
2010-12-01
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| Series: | Cahiers Victoriens et Edouardiens |
| Online Access: | https://journals.openedition.org/cve/2732 |
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| Summary: | Evoked and revisited numerous times over the centuries since its origin in the Bible, the story of Salome was approached in a completely innovative way by Oscar Wilde at the end of the nineteenth century. By placing the young Judean princess at the heart of the drama and using, in keeping with other symbolist authors, language resembling a musical dialogue, Wilde’s play inspired a number of musicians including Richard Strauss, Alexandre Glazounov and the French composer, Antoine Mariotte.What were the reasons for Mariotte’s enthusiasm for his English contemporary’s play ? How did the composer transform this theatrical drama into an opera? To what extent was Mariotte aware of the ingenious ways in which Wilde, in his interpretation of the text, had constructed his play? These different questions allow us to establish how the composer, before setting the text to music, came to understand the playwright’s work in order to write his own libretto. |
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| ISSN: | 0220-5610 2271-6149 |