RECONFIGURAREA OPEREI ÎN SECOLUL XIX: EVOLUŢIA ȘI TRANSFORMĂRILE LUI MEFISTOFELE DE ARRIGO BOITO
RECONFIGURING OPERA IN THE 19TH CENTURY: THE EVOLUTION AND TRANSFORMATIONS OF ARRIGO BOITO’S MEFISTOFELE

Summary/Abstract: The evolution of Arrigo Boito’s opera Mefistofele is emblematic of the transformation of Italian opera at the end of the19th century, reflecting the cultural dynamism of Milan. Boito’s ambition was not merely to compose an opera but to challenge and redefine the boundaries of the genre, moving beyond traditional formulas in favour of an integrated musical and dramatic experience. The original version of Mefistofele, premiered in 1868, was a highly ambitious work structured into a prologueand five acts. Boito’s theoretical approach to composition bore similarities to Richard Wagner’s Gesamtkunstwerk concept. The Italian composer deliberately avoided overt nationalist influences, instead seeking a universal expression for Goethe’sFaust. A key aspect of Mefistofele’s innovation was its departure from traditional closed forms such as the aria, cabaletta, andstretta, which had dominated Italian opera. Given that Boito destroyed the first version of the opera, a comparative analysisof the two versions, made possible through the preserved libretto and studies of the manuscript’s paper, reveals the extent ofthese modifications. A careful examination of the manuscripts highlights the opera’s evolution, vocal line transpositions, andthe strategic restructuring of scenes to enhance the dramatic coherence. Mefistofele remains a milestone in the Italian operatic landscape, positioned at the intersection of tradition and modernity. Boito’s role as the opera’s sole creator — librettist, composer, dramatist, and conductor — allowed him to implement a unified artistic vision, resulting in a work that, despite itsinitial challenges, has endured as a benchmark of operatic innovation. His relentless pursuit of new artistic expressions thattranscended traditional constraints makes Mefistofele a bold reimagining of the genre, confirming Boito’s place at the forefrontof 19th century musical dramaturgy.

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