ABSTRACT:
Ever since the appearance of the first dramas entirely set to music, happy endings have emerged as a tacit convention. Even ancient myths with their sad endings were transformed, adapting plots to local customs where operas were performed. Although it may seem a facile or occasional solution, there are some important poetical questions involved which appear in certain writings on opera from the eighteenth century. The purpose of this article is to discuss, by means of examples, how the happy ending appears in some operas, and what function it has. The article also pretends to show how Italian critics of the late eighteenth century approached the question.
KEYWORDS:
Opera; Happy ending; Poetics