著者

水越 美和

出版者

お茶の水女子大学大学院人間文化創成科学研究科

雑誌

人間文化創成科学論叢 (ISSN:13448013)

巻号頁・発行日

vol.15, pp.143-151, 2012

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The purpose of this study is to consider the involvement of the singer, Pauline Viardot-García in the arrangement of Gluck's Opera, Orfeo ed Euridice by Hector Berlioz. She played the role of Orfée at the premiere of this version in 1859 and involved in making up it with Berlioz. In this study the Orfée's aria," Amour, viens rendre à mon âme" and its cadenza in the 1st Act are discussed in the respects of some materials of this pieces (biography, letters, treatises and so on) and the background in the process of arranging. Conclusion: 1. Pauline Viardot was deeply involved in arranging and producing the version and it is clarified that the aria and its cadenza were re-composed by Berlioz, Saint-Saëns and Pauline Viardot. 2. The vocal line of this aria is reinforced by the wind instruments and the cadenza has two different characters: the citation from the music of previous scene, and the virtuosity of vocal technique. And then it may be concluded that the involvement of Pauline Viardot fixed the role of Orfée for female voice and gave this role two attributes, a traditional vocal technique and a modern dramatic style of singing expression.