L’OPÉRA JONAS D’ANATOL VIERU. 1. SYMBOLES ET INTERPRÉTATIONS POLITIQUES
Keywords:
Anatol Vieru, Jonas (Iona), Escher, Eliade, Ionesco, Sorescu, metamorphosis, symbols, communism, absurd, surrealism, identity, Romanian music, musical analysis, contemporary music, music after 1945, musicologyAbstract
The aim of this text is to analyse the opera Jonas (1976) of the Romanian composer Anatol Vieru. The first part is concentrated on the interpretations of the literary and musical symbols of this opera in the communist political context. The second part is analysing the specific structures and the symmetries (palindromes).
References
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Ionesco, Eugène, Ruptures de silence. Rencontres avec André Coutin, Mercure de France, Paris, 1995.
Mitrea-Celarianu, Mihai, Autour de Seth – nocturne pour 7 instruments – Anamnèse –, in: Littérature en marche, 2001, p. 10-12.
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Stan, Luana, Linéarité rompue dans l’opéra ‘sablier’ Derniers jours, dernières heures d’Anatol Vieru, in: Studia Universitatis Babeş-Bolyai, Série Musica, Cluj-Napoca, 2009, n° 1, p. 231-242.
Vieru, Anatol, Iona (Jonas), Editura Muzicală, Bucureşti, 1980.
Vieru, Andrei, Mon père, in: La Nouvelle Revue française, Paris, 2001, janvier, p.148-166.
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