Las dos noches de Anastasio
abstract
The representation of the gaucho in Estanislao del Campo is friendly and very different from the usual emblem raised by nationalism showing the gaucho as a character of gloomy and antisocial temper. Similarly, the musicologist Richard Taruskin mentions that the sympathetic and inclusive operatic composition style in Russia was defeated by a hostile version with the extraneous, which is represented by the aesthetics of Glinka. A comparative reading of del Campo’s Fausto with a previous text of the Argentine writer shows how the melodrama that had stimulated the creation of the famous poem at first was not Gounod's Faust but Giovanni Pacini’ Saffo. I try to explain that change.
Keywords: Estanislao del Campo • Giovanni Pacini • Gaucho literature
permalink: http://doi.org/10.14277/6969-068-6/RiB-1-21