단테 신곡(La divina commedia)과 푸치니『일 트리티코』 (Il Trittico)의 연구 : 소프라노 곡을 중심으로 = An Analytical Study of Dante’s La Divina Commedia and Giacomo Puccini’s Il Trittico – Focused on Soprano Pieces

다국어 초록 (Multilingual Abstract)

This study examines how Dante Alighieri’s La Divina Commedia and Giacomo Puccini’s Il Trittico works created in different historical periods and artistic media articulate the narrative of spiritual salvation through the distinct languages of poetry and music. Dante’s tripartite structure of Inferno, Purgatorio, and Paradiso presents the spiritual progression from the recognition of sin to purification and finally to contemplative union through love. This architecture, founded not only on narrative sequence but also on a symbolic numerical order (3, 9, 33, 100), establishes a cosmological and theological system that reflects the ascent of the human soul. The contrapasso principle in Inferno, the hopeful dynamics of purification in Purgatorio, and the culmination of wisdom and love in Paradiso form a symbolic and structural foundation that has influenced later artistic expressions, including Puccini’s operatic triptych.
In Il Trittico, Puccini develops an emotional trajectory of tragedy atonement comedy that parallels Dante’s spiritual ascent. Il tabarro exposes a world of confinement, fragmentation, and inevitable tragedy rooted in human desire Suor Angelica traces a path from suffering to repentance and spiritual elevation and Gianni Schicchi presents a realm of harmony shaped by love, humor, and ingenuity. Puccini does not imitate Dante’s structure literally but transforms the Dantean logic of emotional ascent into operatic expression.
Focusing on the cycle’s principal soprano pieces, this study analyzes text, tonal organization, melodic construction, rhythmic design, and orchestration. In Il tabarro, Giorgetta’s duet “È ben altro il mio sogno” employs chromatic instability, fragmented rhythm, and sharp dynamic contrasts to embody the infernal tension wherein desire turns into punishment—echoing Dante’s structural principle of sin corresponding to consequence. In Suor Angelica, “Senza mamma” unfolds through a gradual brightening of tonality, ascending melodic lines, and increasingly warm orchestral colors, rendering musically the purgatorial process of purification and emotional elevation. In Gianni Schicchi, “O mio babbino caro” presents a serene major tonality and gentle melodic curvature, offering a moment of paradisal harmony that resonates with the Dantean vision of love as the ordering principle of the cosmos.
Dante’s symbolic system concerning confinement and distortion in Inferno, the upward movement of hope in Purgatorio, and the balance and luminosity of Paradiso is metaphorically reinterpreted in Puccini’s sound world. Thus, despite their differences in medium, the two works share a common structural logic grounded in the progression from the recognition of sin to purification and ultimately to the unity achieved through love.
The study further proposes implications for vocal practice. Giorgetta’s duet marks a dramatic turning point requiring the density and pressure of a lirico spinto or dramatic soprano. “Senza mamma” demands the warm middle range resonance and long breathed phrasing characteristic of a lirico soprano, aligning with the purgatorial process of emotional transformation. “O mio babbino caro”, characterized by transparency and lightness, is ideally suited to a lirico leggero soprano, whose timbre most effectively conveys the purity and harmony associated with Dante’s paradisal vision. Understanding the relationship between vocal timbre, dramatic function, and Dantean symbolism allows performers to build interpretive strategies that extend beyond technical execution.
In conclusion, Il Trittico is not merely a collection of three one act operas but a unified artistic world in which Dante’s structure of salvation is reimagined through Puccini’s expressive musical language. By illuminating the shared structural principles and expressive strategies between the two works, this study provides a conceptual and practical foundation for future research in Dante studies, opera scholarship, and performance-based interpretation.

목차 (Table of Contents)

• Ⅰ. 서 론 1
• 1. 연구목적 1
• 2. 연구방법 2
• Ⅱ. 문학적 사상적 배경 4
• 1. 단테의 생애와 작품세계 4
• 2. 20세기 초 이탈리아 오페라 14
• 3. 푸치니의 생애와 작품세계 18
• Ⅲ. 일 트리티코 분석 22 1. 창작 배경과 초연 22
• 2. 『외투』 (Il tabarro) 23 가. 줄거리 23 나. 조르제타의 이중창 <나의 꿈은 다르다>(È ben altro il mio sogno) 26
• 1) 가사분석 26
• 2) 조르제타 성격 분석 32
• 3) 음악적분석 35
• 3. 『수녀 안젤리카』 (Suor Angelica) 45 가. 줄거리 45 나. 안젤리카의 아리아 <엄마도 없이>(Senza mamma) 48
• 1) 가사분석 48
• 2) 안젤리카 성격 분석 51
• 3) 음악적분석 55
• 4. 『잔니스키키』 (Gianni Schicchi) 69 가. 줄거리 69 나. 라우렛타의 아리아 <오! 사랑하는 나의 아버지>(O mio babbino caro) 72
• 1) 가사분석 72
• 2) 라우렛타 성격 분석 74
• 3) 음악적분석 78
• 5. 일 트리티코와 신곡과의 연관성 84
• Ⅳ. 결론 88
• 참고문헌 91
• ABSTRACT 93