Selecciona una palabra y presiona la tecla d para obtener su definición.
 

21

Anthony Close, The Romantic Approach to 'Don Quixote' (Cambridge: University Press, 1977) p. 30. Also Inés Azar, «Meaning, Intention and Written Text: Anthony Close's Approach to 'Don Quixote' and its Critics». MLN, 96 (1981), 440-44, and Daniel Eisenberg, Study of «Don Quixote», appendix: «The influence of 'Don Quixote' on the Romantic Movement». Of great interest is also Jean-Jacques Achille Bertrand's book Cervantes et le romanticisme allemand, (Paris: F. Alcan, 1914).

 

22

Calderón's 'auto' La cena de Baltasar and Lope's play El mayor imposible had already been performed as operas before they ever appeared on the spoken German stage.

 

23

Translation: «Since it is best for the theatre, we have taken the poetic license to add a character with the name of Rodrigo». Hinrich Hinsch, Der irrende Ritter D. Quixotte de la Mancia (Hamburg: Ed. Hamburg Opera) p. 1. (This is all the information given on the microfilm made for me by the music department of the University of Hamburg. As far as I know the University has the only copy of the libretto. There is no indication on the libretto when it was published or if it is a copy of the original.)

 

24

Translation: «In that book, folly and reason seem to struggle with each other».

 

25

Translation: «If my sweetened poison which oozes from these pages, and always stimulates and never relents, at one point makes contact with a vulnerable mind, then even strength cannot save it from the shackles of folly» (Hinsch l. 66-73).

 

26

Translation: «Because of you a knight entertains us, since he lost his wit (reasoning), because of you a knight gives us pleasure» (Hinsch l. 80-84).

 

27

Cervantes Across the Centuries, (New York: The Dryden Press, 1947) p. 309.

 

28

The Singspiel, an early typical German form of the comic or opera buffa, appeared in the middle of the 18th century. Its chief characteristic is the use of dialogue instead of recitative. The music consisted of songs in very simple style. The ideal was to choose plain and catchy melodies which could be sung, by everyone, even a cappela.

 

29

I stumbled upon this libretto by accident while I was doing research in the Albertina Court Library in Vienna in July 1987. During discussions with the curator (an avid Hispanist interested mainly in the 18th century political development of Spain) I voiced my opinion about this curious libretto, asking him if he also saw in it an allegory on the passing of the Spanish crown from the Hapsburgs to the Bourbons and the subsequent Spanish War of Succession. He agreed that there was some justification for interpreting it as such, but cautioned me not to read it as an open declaration against the house of Bourbon but rather as a satire on the last Hapsburg in Spain. I will not discuss the libretto in this light, since I have not enough evidence, but I thought it important to mention the matter here.

 

30

One can describe this only as a type of séance, where Albarosa seeks to support her already shaky religious belief by consulting the world of spirit communications.