VOCAL AND CHARACTEROLOGICAL ASPECTS IN DONIZETTI′S QUEENS TRILOGY
VOCAL AND CHARACTEROLOGICAL ASPECTS IN DONIZETTI′S QUEENS TRILOGY

Summary/Abstract: The Elizabethan world has aroused the fascination of a host of musicians, composers and performers, starting with Henry Purcell up to Benjamin Britten. It was with Purcell that the "Shakespearianisation" of musical theatre began, which was to reach its theatrical, poetic and expressive-musical climax with Verdi. The bipolar and dichotomous aspect of the queens finds a living fire in the operatic production of the early 19th century, where a veritable cycle of musical works dedicated to Elisabeth and the Tudor dynasty was born, where the crown, the dynastic conspiracies unceasingly bathed in blood and love find a burning sound in the dramatic colouraturas of authors such as Rossini and Donizetti. The role of the prima donna is at the heart of the Elizabethan operatic vein, for it is with Donizetti's Tudor trilogy that the glorification of the role of the queen reaches its pinnacles of tragic-vocal expression.

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