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The beginning of reformatory activity of Gluck was marked by his cooperation with the Italian poet living in Vienna, the playwright and the librettist Raniyero da Calzabigii (1714 — 17 Metastazio and Calzabigii represented two various directions in an opera libretti-stika of the XVIII century. Opposing a court and aristocratic esthetics of the libretto of Metastazio, Calzabigii strove for simplicity and naturalness, to a truthful embodiment of human passions, for freedom of the composition dictated by the developing drama action, but not standard canons. Choosing antique plots for the libretto, Calzabigii treated them in the sublime and ethical spirit peculiar to the advanced classicism of the XVIII century, put high moral pathos and big civil and moral ideals in these subjects. The community of the advanced aspirations of Calzabigii and Gluck led them to rapprochement.

Antique and medieval plots formed a basis for the libretto of operas of the Glitch. However antiquity in operas of the Glitch was not similar to that court masquerade which dominated in the Italian opera seria and especially in the French lyrical tragedy.

Positive side of training was mastering Gluck Greek and Latin languages, antique literature and poetry. To the opera composer during that era when opera art in many respects was based on antique subject, it was necessary.

And still between early operas of the Glitch and its reformatory operas at their fundamental differences there is no impassable side. Testifies, for example, that fact to it that Gluck used music of early operas in compositions of the reformatory period, transferring to them separate melodic turns, and sometimes and the whole arias, but with the new text.

Synthesis of music and drama action. The main goal of musical dramatic art of Gluck consisted in the deepest, organic synthesis in the opera of music and drama action. Thus music has to be subordinated to the drama, sensitively respond to all drama peripetias as music serves as means of emotional disclosure of sincere life of heroes of the opera.

However despite treatment of antique plots in the spirit of the advanced ideals of the time, it is necessary to point and to historically caused limitation of opera dramatic art of Gluck. It is defined by the same antique plots. Heroes Gluck's oner have a little abstract character: they not so much living people with the individual characters multilaterally depicted how many the generalized carriers of certain feelings and passions.

In operas of the Glitch the choruses which are integrally joining together with arias and recitatives in dramaturgic fabric of the opera figure prominently. Recitatives, arias and choruses in the set form big, monumental opera composition.

Gluck's childhood was severe: the family possessed slender means, and it had to help the father with difficult lesnichesky business It promoted development at Gluck of the vital firmness and strong character helping it subsequently when carrying out in life of reformatory ideas.

After England Gluck visited some other the European countries (Germany, Denmark, the Czech Republic). In Dresden, Hamburg, Copenhagen, Prague he wrote and staged operas, drama serenades, worked with opera singers, conducted.