"Amadís"De la novela a la ópera
- López-Varela Azcárate, Asunción
- López-Verdejo, Miguel
- Alemany Ferrer, Rafael (coord.)
- Chico-Rico, Francisco (coord.)
Éditorial: Servicio de Publicaciones ; Universidad de Alicante / Universitat d'Alacant ; Sociedad Española de Literatura General y Comparada (SELGYC)
ISBN: 978-84-608-1239-5
Année de publication: 2012
Pages: 339-346
Congreso: Sociedad Española de Literatura General y Comparada. Simposio (18. 2010. Alicante)
Type: Communication dans un congrès
Résumé
The Amadís de Gaula adapted by Montalvo had a huge diffusion in Europe, especially in France, where all of its sequels were translated (among which stand out those of Feliciano de Silva) and even others were created. Due to this success of the novel of chivalry in the Gallic country, two curious works were written: Amadis, of Philippe Quinault, and Amadis de Grèce, of La Motte. Both texts were conceived so other musicians could compose on them both lyric tragedies, musical genre of great importance in the France of the xvii and xviii centuries. Later, in 1715, the opera Amadigi, of George Friedrich Händel, had its premiere in London. This essay tries to establish the tour described by love and magic from the Montalvo’s first amadises and one of his continuers, Feliciano de Silva, until Händel composes his opera, going through both French lyric tragedies