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I Capuleti Ed I Montecchi En El Sudeste Cordobés Entre 2007 Y 2009: Ópera Como Performance Vocal Desde La Perspectiva Del Cantante

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I Capuleti Ed I Montecchi En El Sudeste Cordobés Entre 2007 Y 2009: Ópera Como Performance Vocal Desde La Perspectiva Del Cantante Biblioteca Central "Vicerrector Ricardo A. Podestá" Repositorio Institucional I Capuleti ed I Montecchi en el sudeste cordobés entre 2007 y 2009: ópera como performance vocal desde la perspectiva del cantante Año 2014 Autor Reyes, Alejandra Manuela Director Aballay, Silvia Irene Este documento está disponible para su consulta y descarga en el portal on line de la Biblioteca Central "Vicerrector Ricardo Alberto Podestá", en el Repositorio Institucional de la Universidad Nacional de Villa María. CITA SUGERIDA Reyes, A. M. (2014). I Capuleti ed I Montecchi en el sudeste cordobés entre 2007 y 2009: ópera como performance vocal desde la perspectiva del cantante. Villa María: Universidad Nacional de Villa María Esta obra está bajo una Licencia Creative Commons Atribución 4.0 Internacional UNIVERSIDAD NACIONAL DE VILLA MARÍA INSTITUTO ACADÉMICO PEDAGÓGICO DE CIENCIAS HUMANAS TESIS DE MAESTRÍA I CAPULETI ED I MONTECCHI EN EL SUDESTE CORDOBÉS ENTRE 2007 Y 2009: ÓPERA COMO PERFORMANCE VOCAL DESDE LA PERSPECTIVA DEL CANTANTE Autora: Prof. Alejandra Manuela Reyes Directora de la Tesis: Mgter. Silvia Irene Aballay Co-director de la Tesis: Mgter. Alfredo José Crespo Villa María, 20 de junio de 2014 2 ÍNDICE Nómina de Abreviaturas………………………………………………………….…6 Introducción……………………………………………………………………….…7 Capítulo I. Ópera del primo ottocento en el sudeste cordobés a principios del S XXI: un estudio de caso centrado en la performance vocal desde la perspectiva del cantante……………………………….………..…………...17 I. 1. Estudios de performance………………………………….……………………17 I. 1. 1. Consideraciones metodológicas………………………….………………….19 I. 1. 2. Conceptos básicos para el análisis………………………..………………….22 I. 1. 3. Análisis performático de ópera…………………………..…………………..26 I. 2. La Performance Vocal Operística sin amplificación eléctrica……………...…29 I. 2. 1. La performance vocal musical………………………………………….…...29 I. 2. 2. La escucha del canto y la performance vocal musical sin amplificación eléctrica: sistemas de referencias…………………………. ..32 I. 2. 2. 1. Sistema de referencias del oyente……………………………………..….33 I. 2. 2. 2. Sistema de referencias del cantante………………………………….…...37 I. 2. 3. Cuerpo, cuerpo vocálico y vocalidad……………………………………….39 I. 2. 4. Cuerpo y técnica vocal……………………………………………………....43 I. 2. 5. La performance vocal operística………………………………………….…44 I. 3. La performance vocal de Capuletos y Montescos como objeto de análisis………………………………………………………....47 I. 3. 1. Corporalidad, presencia material y performatividad del canto operístico…………………………………………………………… .48 I. 3. 2. Texto, música y performance vocal en la ópera……..……………………...51 I. 3. 3. Compositor, obra y cantante en la performance vocal operística……………………………………………..54 Capítulo II. El Texto: I Capuleti ed I Montecchi y sus creadores……………..…….57 II. 1. Lo performático y el compositor/libretista/impresario en I Capuleti ed I Montecchi de Vincenzo Bellini y Felice Romani…………….59 II. 1. 1. El contexto histórico………………………………………………………...61 II. 1. 1. 1. La entidad de la ópera en tiempos de Bellini y Romani…………..……...61 3 II. 1. 1. 2. Una ópera nueva en el primo ottocento…………………………………..64 II. 1. 1. 3. Los cantantes…………………………………………………………….66 II. 1. 1. 4. Las circunstancias históricas de la creación de I Capuleti ed I Montecchi……………………………………………………...69 II. 1. 1. 5. Las condiciones acústicas de la performance vocal………..………..…..71 II. 1. 2. Los agentes…………………………………………………….………...….75 II. 1. 2. 1. El libretista, obra y oficio……………………………….………………74 II. 1. 2. 2. El compositor…………………………………………….…………...….77 II. 2. Las fuentes……………………………………………………………………..79 II. 2. 1. El papel travestido de Romeo en I Capuleti ed I Montecchi………..……...79 II. 2. 1. 1. Romeo Montesco y los roles de musico en la ópera italiana del primo ottocento………………………………..……....80 II. 2. 1. 2. Corporalidad del musico en escena………………………………………82 II. 2. 1. 3. Ayer y hoy: efectos musicales del Romeo musico en I Capuleti…y posibles causas de su aparición en el reparto………………..84 II. 2. 1. 4. Relato de la autora………………………………………………….....…86 II. 2. 2. El libreto……………………………………………………………….…...88 II. 2. 2. 1. Sinopsis del argumento……………………………………..………..…..88 II. 2. 3. La Partitura…………………………………………………….………...…91 II. 2. 3. 1. Antecedentes de la composición………………………….……………...91 II. 2. 3. 2. Estructura general……………………………………………………..….93 II. 2. 3. 3. Estructura dramático – musical – vocal de cada número: criterios y terminología ………………………………..…....95 II. 2. 3. 4. Estructura dramático – musical – vocal de cada número: Gráficos…………………………………………………….102 Capítulo III. La Proto-performance: Capuletos y Montescos y sus creadores……..117 III. 1. La performance vocal operística sin amplificación eléctrica: bel canto y Técnica Vocal………………………………………..…………..118 III. 1. 1. El bel canto italiano de la primera mitad del S XIX……………………..119 III. 1. 2. Fundamentos históricos y prácticos que sustentan la aplicación del término bel canto a un tipo de performance vocal operística actual…………………………………………………….….121 4 III. 1. 3. El bel canto a principios del S XXI……………………..….….……...….123 III. 1. 4. Cantar y aprender a cantar en el sudeste cordobés a principios del S XXI……………………………………………………….124 III. 1. 5. Una aproximación a las relaciones entre bel canto y Música Popular……………………………………………..……..………126 III. 2. La producción general………………………………………..…..……….…129 III. 2. 1. Antecedente inmediato: Capuletos y Montescos Córdoba 2006……...………………..…...……….…129 III. 2. 2. Contexto de gestión cultural………………………..…………..………...130 III. 3. La producción artística………………………………..…………..…………134 III. 3. 1. Sobretítulos………………………………………….………..……… ….134 III. 3. 2. La versión elegida…………….………………………………..………....137 III. 3. 3. Acerca de los cortes ………….…………………………….….………....138 III. 3. 4. Detalle de los cortes y repeticiones no escritas realizados en Capuletos y Montescos…………………………………………..……….139 III. 3. 5. Reducción para pequeño conjunto instrumental………………..…..…...142 III. 3. 6. Modificaciones relacionadas directamente con la performance vocal……………………………………………..……..143 CAPÍTULO IV. La performance en su dimensión externa: cantantes y público en Capuletos y Montescos…………………………………..….………..…………144 IV. 1. Apectos espaciotemporales y humanos de una función de Capuletos y Montescos………………………….……….146 IV. 1. 1. Dónde, Cuándo y Quién de una función de Capuletos y Montescos………………………………………….………..146 IV. 1. 2. Breve consideración del público y su campo performático……...….…...151 IV. 1. 3. Perfil humano de los performers vocales en Capuletos y Montescos…………………………………………….……..155 IV. 2. Formas de participación vocal en Capuletos y Montescos: Coro y solistas………………………….…………………………….....…...161 IV. 2. 1. Tiempo en escena de solistas y grupos corales en Capuletos y Montescos…….………………………..…………..….……..161 IV. 2. 2. El Coro en I Capuleti ed I Montecchi…..…….………....…….….………165 5 IV. 2. 2. 1. El coro en el libreto: el drama en su dimensión colectiva…….………165 IV. 2. 2. 2. El coro en la partitura: Música, espectáculo y corporalidad…………………….…………………………….….…....…...167 IV. 2. 3. El coro y la experiencia de la Performance Vocal Operística…..………169 CAPÍTULO V. La performance en su dimensión interna: análisis performático vocal de Capuletos y Montescos………………………...…….……………......…177 V. 1. Tres números representativos para el análisis performático vocal…………………...……………………………....……...177 V. 2. Performance vocal, música, palabras y corporalidad en Nº 3 Scena e Cavatina de Romeo, ACTO I ……………………….…….181 V. 3. Performance vocal, música, palabras y corporalidad en Nº I Scena e Aria de Giulietta, ACTO II ………………...……………….194 V. 4. Performance vocal, música, palabras y corporalidad en Nº 3 Coro, Aria e duetto finale Giulietta e Romeo, ACTO II...….……..207 Capítulo VI. Secuelas de Capuletos y Montescos en el sudeste cordobés……..…..231 VI. 1. Conciertos Didácticos de Ópera en escuelas……………………….……….232 VI. 1. 1. Expresiones del público de los Conciertos Didácticos…………………...235 VI. 1. 1. 1. Los docentes…………………………………………...………………235 VI. 1. 1. 2. Los alumnos……………………………………….…………………..339 VI. 2. Ciclo ÓPERA ENINDER 2010……………………….…………………….243 Conclusiones………………………………………………...……………………..247 Bibliografía ……………...……………………………...………………………... 258 Anexos .....................................................................................................................270 6 Nómina de abreviaturas AP……………………. Análisis performático APV………………….. Análisis performático vocal Capuletos……………. Capuletos y Montescos C/L/I…………………. Compositor/libretista/ impresario Edmv……………….. Estructura dramático – musical – vocal I Capuleti……………. I Capuleti ed I Montecchi pae…………………… Perfil acústico emocional PP……………………. Performance pública proto-p………………. Protoperformance PVOsae………………. Performance vocal operística sin amplificación eléctrica PVM…………………. Performance vocal musical UNVM………………. Universidad Nacional de Villa María 7 Introducción En el presente trabajo de Tesis se estudia desde la teoría de la Performance el caso de una producción de ópera italiana de la cual se realizaron entre 2007 y 2009 cinco funciones en cuatro ciudades del sudeste cordobés: Villa María, Las Varillas, General Deheza y La Carlota. Se trata de una versión de I Capuleti ed I Montecchi (Capuletos y Montescos) de Vincenzo Bellini (1801 – 1835)1, título firmemente anclado en el canon europeo, con presencia ininterrumpida en las temporadas de los principales teatros y compañías dedicados al género desde su estreno en Venecia en 1830. En la producción de referencia, la ópera se presentó completa en forma tradicional, es decir interpretada sin amplificación eléctrica de las voces ni
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