@unpublished{upm68288,
          author = {Eva Gonz{\'a}lez V{\'a}zquez},
            year = {2021},
           title = {La {\'o}pera del clasicismo. An{\'a}lisis comparativo entre Alemania e Italia},
           month = {June},
             url = {https://oa.upm.es/68288/},
        abstract = {Dadme el mejor piano de Europa, pero con un auditorio que no quiere o no siente conmigo lo que ejecuto, y perder{\'e} todo el gusto por la ejecuci{\'o}n? Wolfgang Amadeus Mozart.  Mozart y los compositores del per{\'i}odo cl{\'a}sico entend{\'i}an que para realizar buenas obras, eran necesarios buenos espacios. Con la llegada de la {\'o}pera cl{\'a}sica, mucho m{\'a}s compleja y evolucionada, se da el paso de m{\'u}sica antigua (Edad Media, Renacimiento y Barroco) a m{\'u}sica cl{\'a}sica (Clasicismo, Romanticismo, Modernismo, Contempor{\'a}nea). A ra{\'i}z de este cambio, los compositores comenzaron a exigir nuevos teatros que fueran capaces de lucir sus {\'o}peras.  Esta investigaci{\'o}n se centra en el an{\'a}lisis de estos nuevos teatros que surgen en Europa durante el clasicismo musical (1750-1850). Se realiza por lo tanto, una comparativa de las dos corrientes oper{\'i}sticas m{\'a}s destacadas del clasicismo: la corriente italiana y la corriente alemana. Para ello se har{\'a} uso del m{\'e}todo de paralelos gr{\'a}ficos.  Se han seleccionado seis casos de estudio, tres por cada estilo de {\'o}pera. La elecci{\'o}n de los mismos se ha tomado bas{\'a}ndose en la importancia que tuvieron los teatros dentro del mundo de la m{\'u}sica, ya sea por el virtuosismo de sus m{\'u}sicos o por los grandes compositores que las eligieron para presentar sus obras.  El an{\'a}lisis no se centra en los edificios en su totalidad sino que pretende estudiar {\'u}nicamente las zonas que se encuentran directamente relacionadas con la m{\'u}sica. Estos espacios son los destinados a los int{\'e}rpretes y por supuesto tambi{\'e}n al p{\'u}blico. Por este motivo se van a comparar las zonas del foso, escenario y palcos de los teatros italianos m{\'a}s representativos y los teatros alemanes m{\'a}s representativos. Con ello se consigue entender c{\'o}mo fueron variando las salas de {\'o}pera a lo largo del clasicismo en los diferentes territorios.
Give me the best piano in Europe, but with an audience that doesn?t want or doesn?t feel with me what I play, and I?ll lose all taste for performance? Wolfgang Amadeus Mozart.  Mozart and the Classical period?s composers understood that to make good works, good spaces were needed. With the arrival of classical opera, mucho more complex and evolved, there was a passage from ancient music (Middle Ages, Renaissance and Baroque) to clas?sical music (Classicism, Romanticism, Modernism and Contemporary). As a result of this change, composers began to demand new theatres that would be able to stage their operas.  This research focuses on the analysis of these new theatres that emerged in Europe during musical classicism (1750-1850). A comparison of the two most prominent operatic currents of classicism is therefore made: the Italian current and the German current. The graphical parallel method shall be used for this purpose.  Six case studies have been selected, three for each opera style. The choice of them has been made based on the importance that theatres had in the world of music, either because of the virtuosity of their musicians or because of the great composers who chose them to present their works.  The analysis does not focus on the buildings as a whole but seeks to study only those areas that are directly related to music. These spaces are intended for the preformers and of course also for the public. For this reason, we will compare the areas of the moat, stage and boxes of the most representative Italian theatres with the most representative German theatres. This allows us to understand how the opera houses were varying throughout classicism in the different territories.},
        keywords = {Teatro; {\'O}pera; Clasicismo; Fosos de orquesta; Escenarios de {\'o}pera; Palcos; M{\'u}sica-Arquitectura; Paralelo gr{\'a}fico; Theatre; Opera; Classicism; Orchestra pitches; Opera stages; Boxes; Music-Architecture; Parallel graph}
}