Las dos noches de Anastasio
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.