Document Type
Article
Journal/Book Title/Conference
Decimonónica
Volume
3
Issue
1
Publisher
Decimonónica
Publication Date
2006
First Page
44
Last Page
52
Abstract
Galdós’s musicianship, interest in music, early journalistic work as a reviewer of operas, familiarity with composers’ lives, and use of musical motifs in his novels are all well known. Franz has shown how the plotting and characterization of Doña Perfecta echo those of Rossini’s Il barbiere di Siviglia (“Doña Perfecta” 127–33). Chamberlin has detailed the parallel structure of Fortunata y Jacinta (1886–87) and Beethoven’s Symphony no. 3 (Galdós and Beethoven) and related details of the same novel to the life and work of Rossini (“Echoes” 91–103), continuing a line of investigation initiated years earlier by Nimetz (189–90). This same critic has more recently identified a series of nicknames appearing in Galdós’s novels—Fortunata y Jacinta, Lo prohibido, Casandra—that proceed from nineteenth- century operas, particularly ones by Giuseppe Verdi and Gioacchino Rossini (“Cultural Nicknames” 16–18).
Recommended Citation
Franz, Thomas R., "Galdós’s Tristana and Giuseppe Verdi" (2006). Decimonónica. Paper 133.
https://digitalcommons.usu.edu/decimononica/133