A Ópera Primizie de Abdon Milanez : um estudo histórico-estilístico através da restauração das partituras originais

• Ano de defesa: 2024
• Autor(a) principal: Santos, Kleiton de Araújo
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Música; Programa de Pós-Graduação em Música; UFPB
• Palavras-chave em Português: Ópera Primizie; Abdon Milanez; Restauração de partitura; Primizie; Opera; Sheet music restoration; Restauración de partituras; Ópera; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/36247

This thesis has as its object of study the modernist opera Primizie, composed by the engineer and composer Abdon Felinto Milanez (1858-1927), with a libretto by the painter and writer Heitor Malagutti (1861-1925) and orchestration by maestro Ernesto Ronchini (1863-1931). The work was premiered in 1904, at the Theatro Lyrico Dramático in Rio de Janeiro. Through this emblematic work, we established the following objectives: editing the orchestral score based on the original, structural analysis of the composition and reflections on the composer's life and work. The original, accessed in 2022, is in the collection of the Alberto Nepomuceno Library, belonging to the School of Music of the Federal University of Rio de Janeiro. Using primary sources, such as biographical and journalistic information, in addition to official documents, the work establishes important connections for understanding the work, especially regarding Milanez's influences on his political and artistic life. The thesis is organized into three chapters. The first is dedicated to a brief biography of the composer, Brazilian society in the 19th century and his training in engineering and music. The second chapter presents the author's three compositional phases. The third chapter focuses on the historical-musicological analysis of the opera, highlighting its impact on Rio society, style, aesthetics, structuring and vocal performance particularities, based on the digitalized edition of the originals. Attached, we provide a critically revised edition proposal, with a view to enabling contemporary performances of the work. The theoretical-methodological framework includes Bourdieu, in the sociological aspects, and Bojin Iliev Nedialkov, in the understanding of musical structuring. We also used Bohumil Med (1939), Music Theory, 1996 edition, and Paul Mathews (2006), for orchestration issues. For structural analyses, we based ourselves on essays with aesthetic-musical reflections by Richard Wagner, especially The Work of Art of the Future (1849) and Opera and Drama (1850-51).