{:sr}David i Jonatan, biblijska opera Mark-Antoana Šarpentjea{:}{:en}David et Jonathas, the biblical opera by Marc-Antoine Charpentier {:}

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David i Jonatan, biblijska opera Mark-Antoana Šarpentjea

U ovom predavanju se bavimo naročitim istorijskim mestom tragedije u muzici David i Jonatan (1688) Mark-Antoana Šarpentjea prema libretu Fransoa Bretonoa, jedne od dve opere – pored Jefte (1732) Mišela de Monteklera − bazirane na Starom Zavetu u francuskom baroknom repertoaru. Pored toga, jedinstvena pozicija ovog dela u istoriji muzike leži u činjenici da je, prilikom prvog izvođenja u jezuitskom koledžu Luj Veliki u Parizu, izvedena u kombinaciji sa drugom, književnom biblijskom dramom, Saul od oca Etjena Šamijara. Ova opera je u tom smislu izrazito obeležena višestrukim ukrštanjima: dve relgiozne i kulturne paradigme, judejske i hrišćanske/katoličke,  dva žanra, književne i muzičke tragedije, dve sfere, duhovne i svetovne – proizašlim iz uključivanja biblijskog sadržaja u svetovni muzički žanr −, najzad, samih muzičkih žanrovskih modela i stilističkih i poetičkih crta. Predavanje će se usredsrediti na ova mnogobrojna ukrštanja, koja ovoj Šarpentjeovoj operi osiguravaju posebno mesto u francuskom i evropskom muzičkom pozorištu.  

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David et Jonathas, the biblical opera by Marc-Antoine Charpentier

In this lecture, we deal with the particular position of Marc-Antoine Charpentier’s tragédie en musique David et Jonathas (1688) on the libretto by François Bretonneau, one of two operas based on the Old Testament − besides Jephté (1732) by Michel Montéclair − in the whole French baroque repertoire. Beyond that, the unique position of this work in the history of music lies in the fact that it is, in its first performance in the college of Jesuits Luis le Grand in Paris, performed in combination with the other biblical, literary drama, Saul by Father Étienne Chamillard. This opera is in this sense strongly marked by several crossings: of two religious and cultural paradigms, Judean and Christian / Catholic, of two genres, literary and musical tragedy, of two spheres, sacred and profane – the crossing obtained by the insertion of the religious subject in a secular musical genre −, and finally, of musical generic models, also involving a stylistic and musical poetic mixture that come from this opposition. The conference will focus on these multiple crossings, giving this Charpentier’s opera a special place in the French and European lyric field.

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