Följande arbete är en studie av den tid och samhälle som Rossinis opera L’italiana in Algeri skapades i och syftar till att ligga till grund för en rollgestaltning av operans huvudroll, Isabella, som är både musikaliskt och historiskt tidstrogen. Studiens huvudfrågeställning är ”Vem är Isabella?”. För att svara på frågeställningen har jag genomfört litteraturstudier som behandlat Rossini, librettisten Angelo Anelli, Italiens historia, operans roll i samhället, kvinnornas ställning i samhället, sångtekniken bel canto, teatertekniken commedia dell’arte och om att tolka Rossinis notskrift korrekt. I min analys har jag också använt mig av personliga erfarenheter från mina studier på Conservatorio di musica ”Giuseppe Verdi” i Milano, Italien. Resultatet av studien visar att rollen Isabella kommer från en lång tradition av komedi, både inom teater och opera, men att hon också kan ses som en politisk symbol. Detta är grunden för gestaltningen, men utöver detta har jag också funnit att det finns plats att öka rollens komplexitet genom att, där det finns utrymme, visa Isabellas mer sårbara sida i kontrast till hennes hjältinnekaraktär. Resultatet visar också att bilden av den italienska kvinnan är komplex och problematisk, där en kvinnlig självständighet efterfrågas, men bara om den sker på mäns villkor. Arbetet har lett till en grundkunskap som är till stor hjälp i min gestaltning av Isabella, men som även kommer att följa med mig i framtiden och ligga till grund för en bättre förståelse för den italienska operavärlden och dess verk. / <p>Presentationen skedde i form av en kortversion av operan L'italiana in Algeri. I rollerna: Isabella - Lovisa Huledal, Taddeo - Oscar Quiding, Mustafà - Mårten Wåhlström, Lindoro - Jakob WallAckompanjeras av: Piano - Oskar Tjäder, Violin - Michelle Barth-Croon, Viola - Joel Andersson, Cello - Emil Wegberg</p>

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Cette étude de la diffusion du comique en Europe, à travers les productions d’opere buffe, d’opéras-comiques et de komische Opern dans la première moitié du XIXe siècle, porte dans un premier temps sur les livrets et leur circulation, puis sur la diffusion des œuvres, enfin sur les modèles structurels musicaux du comique et leurs transferts. Entré le premier dans l’ère de la « littérature industrielle », le théâtre français s’impose à l’échelle du continent et les librettistes français bénéficient du système avantageux du droit d’auteur. Déconsidérés et mal rémunérés, les librettistes italiens et allemands traduisent et adaptent en grande quantité des pièces françaises. Tandis que l’opera buffa connaît une incroyable diffusion en France et en Allemagne entre 1800 et 1850, aussi bien en langue originale qu’en traduction, et que l’opéra-comique suit son exemple en Allemagne en traduction, la komische Oper est rarement jouée en France, et les genres français et allemand restent inconnus en Italie. Les modèles structurels du comique italien, dont les opere buffe de Rossini constituent la plus célèbre expression, sont repris par les compositeurs français et allemands dans leurs propres ouvrages. Les compositeurs allemands empruntent également aux modèles structurels du comique français, si bien que le genre de la komische Oper consiste principalement en une synthèse franco-italienne. Dans une période caractérisée par l’essor des nationalismes, la circulation des œuvres, des librettistes et des compositeurs favorise paradoxalement la construction d’une unité de l’Europe par le rire. / This study of the diffusion of comic in Europe, through the productions of opere buffe, opéras-comiques and komische Opern during the first half of the 19th century, firstly examines the libretti and their circulation, then the diffusion of comic operas, and lastly the musical structural models of comic and their transfers. The French theatre inaugurates the age of « industrial literature » imposing itself on the whole continent, and the French librettists benefit from the profitable system of royalties. Discredited and badly payed, the Italian and German librettists translate and adapt a great number of French plays. While the opera buffa enjoys an incredible diffusion in France and in Germany between 1800 and 1850, as well in the original language as in translation, and while the opéra-comique follows suit in Germany (but always in translation), the komische Oper is rarely played in France, and the French and German genres remain unknown in Italy. The structural models of Italian comic, of which Rossini’s opere buffe are the most famous expression, are taken up by French and German composers in their own works. The German composers also borrow from the structural models of French comic, so much so that the genre of the komische Oper ends up consisting principally of a synthesis of French and Italian elements. During a period characterised by the rise of nationalisms, the circulation of the works, the librettists and the composers paradoxically favours the construction of a European unity through laughter.

The first opera by Bohuslav Martinů (from the total of 16) named Voják a tanečnice (The Soldier and the Dancer), H. 162 was created in the initial years of Martinů's stay in Paris (1926-1927), when the effort to reflect different contemporary music trends and influences can be traced in his compositions. Voják a tanečnice is an original example of absorbing such influences on the background of the three-act comic opera. Together with the librettist, Jan Löwenbach, they tried to create a "new opera buffa", which was however not understood by the contemporary reviewers. The opera was first performed in Brno in 1928. The frequency of the first performances of Martinů's stage works in the National Theatre in Brno indicates that the first performance of his first opera was not a coincidence but a part of targeted dramaturgy at the Brno stage. The opera follows both the tradition of an opera and tendencies in art of the 1920's, e. g. playing with humour in music, the epic theatre inspirations or using ancient theme. Powered by TCPDF (www.tcpdf.org)

After the premiere of Don Giovanni in Prague, Wolfgang Amadeus Mozart and Lorenzo Da Ponte brought their opera to Vienna on May 7, 1788. One point of interest in the Viennese version of the score is the added duet “Per queste tue manine.” In this duet, the enraged Zerlina overpowers the bewildered servant Leporello with a handkerchief, a razor, and passion. She constrains the floundering fool and punishes him for his misconduct. In most modern performances, companies look no further than the Prague version of the score. Additionally, singers often portray Zerlina as either a mischievous temptress or a virginal peasant girl. Since modern opera companies often dismiss the Viennese score of Don Giovanni as insignificant and scholars often deem the role of Zerlina as simplistic, a holistic analysis of the role of Zerlina is needed. Viewing the interpretations of her character by Kristi Brown-Montesano and Wye Jamison Allanbrook through the lens of eighteenth-century gender politics and my own musical and literary interpretations results in a more complete understanding of the peasant girl. Through an analysis of the Viennese version of Zerlina’s character, I contend that Zerlina functions as a mirror-image foil to Don Giovanni. As Zerlina gains autonomy through the control of her own body, the Don loses his power over others and eventually his own life. This multi-dimensional understanding of Zerlina’s character is only possible if “Per queste tue manine” is taken into consideration.