L’«Alcesti» di Emanuele Tesauro, o le sventure della sincerità a corte (e qualche altra «Alcesti» barocca)
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The vitality of the myth of Alcestis in seventeenth-century literature is linked to new or mixed genres, such
as tragicomedy and drama for music, in which the structural and thematic peculiarities of the Euripidean
tragedy (first and foremost the happy end) are not only admitted but in fact acclaimed as ‘modern’ ingredients.
Starting from the examples of two dramas for music from the second half of the seventeenth century –
the libretto by Aurelio Aureli, Antigona delusa d’Alceste and the tragédie lyrique by Philippe Quinault,
Alceste ou le triomphe d’Alcyde – the essay focuses on the seventeenth-century rewritings, which enliven the
linearity of the ancient drama through the multiplication of the weird and wonderful ‘accidents’, as if in a
novel; it is shown here, however, that these innovations tend to elude the problematic nucleus of the myth,
offering a superficial and evasive interpretation. More faithful to the classical model is the tragicomedy
Alcesti o l’amor sincero (1665), attributed to Emanuele Tesauro: it too proposes a complex and radical rereading
of the tragedy, transforming it into a parable of court loyalty and expanding the eponymous motif of ‘sincerity’
into a highly perceptive reflection on the lability of knowledge of bonds of affection, an uncertainty
that corrupts such bonds and undermines traditional morality.
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