Notas sobre la Opera Edipo y Yocasta
Composer Josep Soler offers us an analysis on the textual and musical contents of his opera Oedipus and Jocast, whose first night was on the 30th October 1974 during the Internacional Festival of Barcelona. The text chosen is Seneca's original and raises notable differences with regard to that...
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| Format: | article |
| Publication Date: | 1982 |
| Country: | España |
| Institution: | Universitat Autònoma de Barcelona |
| Repository: | Dipòsit Digital de Documents de la UAB |
| Language: | Spanish |
| OAI Identifier: | oai:ddd.uab.cat:13448 |
| Online Access: | https://ddd.uab.cat/record/13448 |
| Access Level: | Open access |
| Keyword: | Òpera nacional Òpera espanyola Òpera catalana Tragèdia musical Drama musical |
| Summary: | Composer Josep Soler offers us an analysis on the textual and musical contents of his opera Oedipus and Jocast, whose first night was on the 30th October 1974 during the Internacional Festival of Barcelona. The text chosen is Seneca's original and raises notable differences with regard to that of Sophocles: the former is a moralist, whereas the latter contains a true psychanalytic reading of the myth. So the composer includes some Sophocles' texts conveying a greater load of tension in the general atmosphere of predestination and fatalism. It is also significant that the author includes Jocast in the title of the opera, in order to show the dialectics between desire and fear, leading to action. The opera was finished on the 24th December 1971 in its version for song and piano, and on the 12th April 1972 for orchestra. It includes 2 acts with one interval. Musical texture is based on the use of one only series: its first position appears in the orchestra and the choir; one second series, deriving from the first one, is embodied by Jocast's part, and an inversion of that by Oedipus'; other series deriving from the first one refer to other characters (Creo, Polybos, Tiresias, the old man from Corinth). The orchestra uses woods by 3 (plus one high saxophone in mi flat), 6 horns and 4 trombones; 2 harps, piano, celesta, organ, hawaiian guitar and an unusual percussion (rattles, castanets, lithophone, chains, eoliphone) in order to avoid analogical recurrences. The use of Latin, in a society as ours, helps to make the myth sacra1 and categoric the cruelty of the message. |
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