La trilogía Mozart-Da Ponteanálisis estructural de los libretos desde la base semiológica de los paradigmas narrativos cinematográficos

Resumo

Within the genre that he loved the most -he composed a total of 22 operas- Wolfgang A. Mozart did not manage to achieve such a well-rounded artistic result, as the one achieved in collaboration with Lorenzo Da Ponte in Le nozze di Figaro, Don Giovanni y and Così fan tutte. Both composer and librettist openly expressed that the cornerstone of their stage creations should be contained in the librettos -in their dramatic construction quality- so that the value of integration between them and the music would be much more balanced and more coherent, with regards to the narrative, than what was the practice at the time. From the methodological basis provided by semiotics, we observe the dramatic quality in the librettos of the Mozart-Da Ponte trilogy, analysing the close relationship between the factors of narrative structure and temporality from the perspective of cinema, artistic discipline in which the concretion of narrative paradigms, understood as universal models for the construction of stories, has traditionally been appreciated the most. As fundamental research objectives we propose to determine the minimum significant unit, common to the set of sign systems that make up the general code of a scenic representation; to design an analysis instrument that allows us to determine the parameters or characteristics that make the Mozart-Da Ponte trilogy a milestone in the history of music. To check, from the primary bibliographical sources, the historical facts that contextualized and conditioned the artistic intentions of Mozart and Da Ponte in reference to the creation of the trilogy; and to justify the observation of the dramatic structures of their librettos through the perspective of cinematographic narrative. The possibility of observing the narrative structure of the operas from the perspective of the cinematographic paradigms is based on the existence of notable structural homologies, defined in both cases by common dramatic elements that develop and articulate their narrative discourse. The integration of such elements, in the case of the three mentioned operas, transcends the merely structural function, making the articulation of a flexible discourse possible, generative of sense meaning and defined by the temporal disposition, narrative dynamics, and interaction of its dramatic components, thus revealing the differential element of the trilogy: the Mozart-Da Ponte paradigm.