La dinàmica dramàtica de "La filla del mar" d'Àngel Guimerà i de "Liebesketten" de Rudolph Lothar i Eugen d'Albert: Una comparació

Abstract

After the enthusiastic reception of Lowlands (Tiefland) the composer d’Albert sought again a topic from Guimerà’s works for his new opera as to continue this success. He decided on Daughter of the sea (La filla del mar), that he and the librettist Rudolph Lothar titled Love chains (Liebesketten). Not only does the scenery change from a mountain to a sea drama here, but also the librettist and the composer intervened more in the dramatic dynamics than in Lowlands. They made crucial alterations in Love chains: The Catalan seaside is transformed into Brittany’s, the number of protagonists is reduced to a half and the plot is shortened and altered to the same extent. Especially a new solution was sought in the German version for the end, that called for the spectators’ attention and the actors’ criticism in the Catalan and Spanish representations. However, this too, did not lead to the desired Happy End, that would have satisfied the spectators’ expectations.