Assassinio nella Cattedrale de Pizzetti :le retour du religieux sur la scène musicale italienne des années 1950
When he began setting T.-S. Eliot’s play to music as Assassinio nella Cattedrale in the second half of the 1950’s, Pizzetti was already of a respectable age and had nothing left to prove in musical composition and drama. He shared with Eliot a passion for Dante’s poetry, but Bishop Bell’s commission...
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| Published in: | LISA (Caen, France) Vol. 12 |
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| Main Author: | |
| Format: | Journal Article |
| Language: | English |
| Published: |
Presses universitaires de Rennes
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| Subjects: | |
| Online Access: | Get full text |
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| Summary: | When he began setting T.-S. Eliot’s play to music as Assassinio nella Cattedrale in the second half of the 1950’s, Pizzetti was already of a respectable age and had nothing left to prove in musical composition and drama. He shared with Eliot a passion for Dante’s poetry, but Bishop Bell’s commission for Eliot’s play in 1934 coincided with the poet’s accepting a new social role as a consequence of his conversion to Anglicanism. Pizzetti’s opera is a Literaturoper inspired by the theme of religiosity and Love, religious faith appearing as a privileged area of the human experience from which Art is to benefit. Pizzetti’s artistic ethics embrace ritual and the mystery of a religious service and his outlook contrasts sharply with the economic boom of the 1950s. |
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| ISSN: | 1762-6153 |
| DOI: | 10.4000/lisa.6721 |