글룩의 개혁오페라 발전 과정에 관한 고찰

Abstract

Christoph Willibald von Gluck (1714-1787) was known as a composer who completed the task of opera reform in the 18th century. His cooperative work with the poet Ranieri de' Calzabigi (1714-1795) produced masterpieces such as Orfeo ed Euridice (1762) and Alceste (1767). His ideal of reform opera was described by himself in the dedication of score publication Alceste. Since Orfeo ed Euridice and Alceste were classified under the genre of opera seria, many people have a tendency to think that Gluck’s opera reform was a reform of opera seria only. However, in this paper I suggest that Gluck’s reform was not only for opera seria, but also for opéra comique and tragédie lyrique in the 18th century. Before Gluck produced the reform operas in Vienna, he worked as a court composer in the Burgtheater since 1754. It is relatively unknown that he composed eight opéra comiques and several ballets for the Burgtheater. It is also less known that Gluck visited Paris several times and composed four new tragédie lyriques and two French adaptations of his own reform operas such as Orphée et Eurydice and Alceste as well as two revised versions of his own opéra comiques during 1772-79. First, I examined the relationship between opéra comiques and reform operas of Gluck by looking into the traits of his opéra comiques, working environments of the Burgtheater, and related personnel such as count Durazzo, Calzabigi and Angiolini. Second, the characteristic traits of reform operas in Vienna and their reception process were investigated. Lastly, I also tried to show how his ideal and intention of reform operas in Vienna were reflected continuously in his tragédie lyriques for Paris.