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EXPRESSIONS OF THE TRAGIC IN THE OPERA TANNH?USER– RICHARD WAGNER. PERSPECTIVES OF MUSICAL AESTHETICS.
Abstract
This research aims to sediment the personal knowledge acquired in the field of aesthetics and philosophy, increasing their significance in the context of joining another field worthy of analysis, namely music. In order to reduce the generalization tendency that affects the previously mentioned fields, in this research we will try an analysis of the most important wagnerian work, Tannhauser, through the prism of an aesthetic perspective. The main theme of the research will be the aesthetics of the tragic, which we find in various forms in the works of Richard Wagner, hence the title given to the research (expressions of the tragic representing the various ways of manifestation of the tragic in music). Wagner takes a step further in the history of romantic opera and elaborates the theory of a twinning of music with poetry, dance, painting and performing arts. The presence of music will enrich and transfigure the expression of other arts, increasing the magnitude of Richard Wagner's tragedy. The genesis of the tragic is closely linked to the evolution of music and the crystallization of some genres of it. It should be noted that the ancient Greek theater was an eloquent form of exposing the tragedy, whose purpose was to convey to the public the feelings of suffering of the characters, thus seeking a purification through empathy. By agreeing with these statements - their fairness being reflected in so many reference musical works - we can consider that the wagnerian opera Tannhauser is an excellent example of tragic musical theater, sometimes reminiscent of the ancient tragedy (sound organization of musical discourse, the quality of the libretto, the psychological and soul portrayal of the characters through the musical discourse) mentioned during this research. Consequently, through an analysis of the musical aesthetics of the tragic potential, we can consider the wagnerian opera Tannhauser one of the creations that will restore the human and artistic greatness of the old tragedies.
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References13
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