Semantics «Zoroastre» as an allegory of spiritual choice: philosophical meanings of the Jeanne-Philippe Rameau’s tragédie lyrique
DOI:
https://doi.org/10.31318/2522-4190.2026.145.356088Keywords:
Jean-Philippe Rameau’s tragédie lyrique, Zoroaster, opera, baroссо, vocal art, the conflict between Light and Darkness, the Enlightenment, FreemasonryAbstract
The relevance of the study. The tragédie lyrique Zoroastre by Jean-Philippe Rameau is examined as an artistic model of spiritual choice between Light and Darkness. The two versions of Zoroastre (1749 and 1756), created in collaboration with Louis de Cahusac, present a unique case of large-scale dramaturgical transformation. Special attention is paid to Zoroastre as a new type of hero – a bearer of spiritual knowledge, moral responsibility, and an active enlightening mission.
The main objective of the study is to identify the features of the philosophical and symbolic concept of Jean-Philippe Rameau’s tragédie lyrique Zoroastre within the context of late Baroque aesthetics and Enlightenment ideas.
The methodology. The research applies comparative-textual and historical-stylistic methods to examine both versions of the libretto. Structural-dramaturgical analysis is used to trace modifications in the sequence of scenes, character interactions, and the development of conflict. Elements of contextual analysis help interpret the philosophical and symbolic dimensions of the work within the broader framework of Enlightenment aesthetics.
Results and conclusions. The opera occupies a special place in Rameau’s oeuvre due to its philosophical symbolism, Masonic overtones, and the absence of a traditional allegorical prologue in the first version. The comparison of the two librettos makes it possible to trace the evolution of aesthetic priorities and dramaturgical logic in mid-eighteenth-century French opera. The study demonstrates that the 1756 revision represents not merely a correction but a profound rethinking of the dramatic concept. The first version (1749) opens without a prologue and introduces, in the overture, the metaphysical conflict between Light and Darkness, emphasizing philosophical abstraction and symbolic opposition. In the revised version, the dramaturgy becomes more concentrated and theatrically dynamic: certain scenes are reduced or reorganized, narrative motivations are clarified, and the emotional trajectory of the protagonists gains greater coherence. The redistribution of roles strengthens dramatic tension and intensifies the confrontation between Zoroastre and Abramane, while the lyrical dimension of the opera becomes more expressive and theatrically effective.
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