Publication: 'Felina é insinuante, embriagada y fuera de si': la recepción de la ópera "Salomé" en Barcelona
Authors
Daufí Muñoz, Alicia ; Clos Soler, Jordi
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
https://doi.org/10.6018/cartaphilus.409591
https://doi.org/10.6018/cartaphilus.409591
https://doi.org/10.6018/cartaphilus.409591
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info:eu-repo/semantics/article
Description
Abstract
El presente trabajo tiene
como objetivo dar a conocer cuál fue la
recepción que tuvo la ópera Salomé en
su estreno en la ciudad de Barcelona en
1910. Teniendo en cuenta el tipo de
música de Richard Strauss y los gustos
estéticos de la sociedad barcelonesa del
momento, se comprende, fácilmente,
que la ópera del compositor alemán
tuvo un gran éxito, sobrepasando las
otras obras que se estrenaron en ese
mismo año. Para la realización de este
estudio, se han analizado diferentes
fuentes hemerográficas, con posiciones
políticas distintas, y, a partir de éstas, se
han podido conocer cuáles fueron las
críticas que recibió la ópera Salomé,
clasificándolas en diferentes categorías.
The aim of this paper is to explain how the opera Salomé was re‐ ceived in its premier in Barcelona in 1910. Concerning the style of Richard Strauss’s music and the aesthetic tastes shown by the Catalan society of the time, it is easy to understand the great success that the opera by the German composer attained. Such success sur‐ passed, indeed, that of other works premiered on that same year in Barce‐ lona. Different hemerographic sources, with different political tendencies, have been considered in the present study. All those newspapers published a varie‐ ty of reviews on the opera Salomé, which will tell us how the work had been received in Barcelona.
The aim of this paper is to explain how the opera Salomé was re‐ ceived in its premier in Barcelona in 1910. Concerning the style of Richard Strauss’s music and the aesthetic tastes shown by the Catalan society of the time, it is easy to understand the great success that the opera by the German composer attained. Such success sur‐ passed, indeed, that of other works premiered on that same year in Barce‐ lona. Different hemerographic sources, with different political tendencies, have been considered in the present study. All those newspapers published a varie‐ ty of reviews on the opera Salomé, which will tell us how the work had been received in Barcelona.
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