The musical conception of the Arias in Maria Tudor of Carlos Gomes: language matters before the dramatic challenge

Abstract

Weigh that Antonio Carlos Gomes is a Brazilian significant figure of the Second Empire and that his music, especially operatic, has achieved great success because of the great versatility in introducing in his work characteristic elements of mainly Italian composers such as: Mascagni, Verdi, and also Wagnerian elements. This project aims to discuss, analyze and interpret Antonio Carlos Gomes writes in his Mary Tudor, in order to address the psyche of the character and resources of the vocal technique used to express such. Having also interests in studying the inclusion of Carlos Gomes in the Italian operatic scene and its concern with opera language. With a view to possible inclusion of research within an existing line: The study of immigration of Italian opera - Study Group - IMLA; the objective of this project is to seek a careful study of the historiographical context in which the work of Mary Tudor is inserted, deepen and analyze the way in which Carlos Gomes represents the psychological character of Mary Tudor. The study will be conducted under the guidance of Professor teaching. Dr. Diosnio Machado Neto by USP (Universidade de São Paulo) in Ribeirão Preto, with readings of books, scores analysis and hearing recordings of main drivers of this vehicle study. Since few studies and theory about the systematization of rhetoric tied to opera Maria Tudor, as well as the use of speech-related to language in Italian operatic in works gomesnianas, having as the co-supervisor Prof. Dr. Anibal Enrique Cetrangolo, director of the Institute for the Study of Latin American Music (IMLA), the city of Venice, this project seeks to understand and inserting elements musicological in the opera Mary Tudor, focusing on the exalted aria Oh! Notte D'Amor. (AU)