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Il Tro Vatore Il trovatore Giuseppe Verdi Il trovatore Giuseppe Verdi Giuseppe Verdi 1813-1901 Òpera en quatre actes amb llibret en italià de Salvatore Cammarano. Estrenada al teatre Apollo de Roma el 19 de gener de 1853. Darrera representació al Teatre Principal del Palma el 22 de maig de 2012. MAIG Dimecres 26 19 hores Divendres 28 19 hores Diumenge 30 18 hores i streaming Durada Primera part: 75 minuts Actes I i II Descans: 20 minuts Segona part: 70 minuts Actes III i IV Producció escènica del Teatro Villamarta de Jerez En dos mots En dos Amb Il trovatore, Giuseppe Verdi (Roncole, 1813 – Milà, 1901) arriba a un dels punts culminants de la seva carrera. La veracitat dramàtica i l’aprofundiment psicològic dels personatges s’accentuen i passen a un primer pla escènic. Tot plegat a Verdi li coincideix amb un moment d’esplendor i maduresa personal. Acaba de complir els 40 anys i se’n va a viure amb Giuseppina Strepponi, una reconeguda soprano amb qui es casaria en secret anys després, el 1859. Estrenada el 1853, Il trovatore comparteix amb La traviata, estrenada el mateix any, i Rigoletto, estrenada dos anys abans, el que s’ha anomenat la “trilogia popular”, tres òperes que tenen en comú el fet de posar el focus en la psicologia dels personatges per deixar un poc de banda temes patriòtics o socials, com s’esdevé a òperes com Nabucco. El llibretista Salvatore Cammarano es va inspirar en l’obra El trovador, del dramaturg espanyol Antonio García Gutiérrez, per escriure aquesta òpera. Si s’ha d’etiquetar, podem dir que Il trovatore és un drama romàntic convencional, o almenys més convencional que els altres dos títols de la trilogia. Això sí, personatges com els d’Azucena, sempre en l’estela del personatge proscrit, fan d’aquest drama quelcom més que una simple historieta romàntica. Manrico i Leonora són una parella pura, l’encarnació de la llibertat i l’idealisme. Ambdós es veuen amenaçats per la gelosia i l’obsessió del Conte di Luna, que vol Leonora a qualsevol preu, mentre la misteriosa i enigmàtica Azucena custodia un secret que els destruirà a tots. Una música lluminosa i expansiva, amb canonades radiants, subratlla els mecanismes del drama que s’està elaborant i la complexitat psicològica dels personatges. En aquest sentit, cal dir que l’autor es mostra fidel a les formes musicals tradicionals, és a dir, l’estètica belcantista en la qual la melodia està per damunt de la violència expressiva. A Il trovatore, s’accentua i confirma la tendència belcantista, iniciada poc temps abans, i que farà de Verdi un dels seus grans exponents. Sigui com sigui, més d’un segle i mig després de la seva estrena (al Teatre Principal de Palma hi va arribar el 1857), Il trovatore segueix sent una de les òperes més apreciades i populars entre els aficionats. 4 Il trovatore – Giuseppe Verdi Fitxa artística Repartiment DIRECTOR MUSICAL ASSISTENT REGIDORIA CONTE DI LUNA Matteo Beltrami I ATREZZO Àngel Òdena Elionor Sintes DIRECTOR ESCENA I Gerard Galmés LEONORA ESCENÓGRAFA Sae-Kyung Rim Marta Eguilior ATREZZISTA Stefanie Knabe AZUCENA DISSENY DE VESTUARI Nino Surguladze Jesús Ruíz SOBRETÍTOLS Neus Ribas i Simon Malone MANRICO IL·LUMINACIÓ I Àngelo Villari VIDEOPROJECCIÓ REGIDORA DE David Bernués SOBRETÍTOLS FERRANDO (Acrónica producciones) Aina Sánchez-Monge Manuel Fuentes AJUDANT DE ORQUESTRA SIMFÒNICA INÉS DIRECCIÓ ESCÈNICA DE LES ILLES BALEARS Marga Cloquell Ruth Rubio COR DEL TEATRE RUIZ AJUDANT PRINCIPAL Joan Gabriel Riera D’ESCENOGRAFIA Director: Pere Víctor Rado Cristina Martín Quintero MESSO Jordi Fontana COREOGRAFIA Inma Sáenz ZÍNGAR Sebastià Serra ASSISTENT DE COREOGRAFIA I BALLET NIN Marta Reguera Miquel Malondra CARACTERITZACIÓ BALLET I FIGURACIÓ Ana Ramírez Jhorman Javier Jiménez Esther Martí PIANISTA I CORREPETIDOR Rocío Tur Borja Mariño Marta Reguera REGIDOR Artur Gonçalves REGIDORA DE LLUMS Aurora Gornals 6 Il trovatore – Giuseppe Verdi 7 Guia d’audició Acte I Acte III Introduzione (Ferrando, Cor) Coro d’Introduzione All’erta! All’erta!, relat i stretta (Cor, Ferrando) Or co’dadi, ma fra poco Scena e Cavatina (Inés, Leonora) Che più t’arresti? – Tacea la Scena e Terzetto notte plàcida (Conte, Ferrando, Azucena, Cor) Quano narrasti di turbamento – In braccio al mio rival – Di tale amor, che dirsi Giorni poveri vivea Scena, Romanza e Terzetto Scena ed Aria (Conte, Manrico, Leonora) (Leonora, Manrico, Ruiz, Cor) Tace la notte! – Deserto sulla terra Quale d’armi fragor – Ah sì, Oh detti... oh gelosia! – Qual ben mio, coll’essere io tuo voce! Ah! Dalle tenebre L’onda de’ suoni mistici – Di quella pira l’orrendo foco Acte II Acte IV Coro di zingari e canzone (Cor i Azucena) Scena, Aria e Miserere Vedi! Le fosche notturne spoglie – (Ruiz, Leonora, Manrico, Cor) Stride la vampa Siam giunti – D’amor sull’ali rosee Mesta è la tua canzon! – Chi del Miserere d’un’alma già vicina – gitano i giorni abella? Tu vedrai che amore in terra Scena e Racconto Scena e Duetto (Azucena i Manrico) (Conte, Leonora, Cor) Soli or siamo! – Condotta ell’ra Udite? Come albeggi – Mira, in ceppi di acerbe agrime Conte... Ne cessi? – Vivrà!... Scena e Duetto contende il giubilo (Manrico, Azucena) Non son tuo figlio! – Mal reggendo Finale all’aspro asalto (Manrico, Azucena, Leonora, Conte) L’usato messo Ruiz m’invia! - Madre, non dormi? - Sì, la Perigliarti ancor languente stanchezza m’opprime, o figlio... Ciel!... non m’inganna quel fiocco Scena ed Aria lume? – Parlar non vuoi? (Conte, Ferrando, Cor) Ti scosta... – Non respingermi Tutto è deserto – Il balen del suo sonriso Qual sono! – Per me, ora fatale Crèdits partitura: Finale (Cor, Conte, Ferrando, Ricordi - Monge y Boceta Leonora, Ines, Manrico, Ruiz) Ah! Se l’error t’ingombra – Perché piangete? E deggio... e posso crederlo? – Urgel viva! 8 Il trovatore – Giuseppe Verdi Notes de la de directora Notes El món dels somnis, les llegendes narrades de generació en generació i els aquelarres m’inspiraren per crear un Trovatore fantàstic i angoixant alhora. La fosca i el foc des del vessant més anguniós abracen tots i cadascun dels personatges. La paraula aquelarre deriva de la mot basc ‘akelarre’ (‘aker’, boc; i ‘larre’, pastura), ja que la idea que el Diable es presentava enmig d’una reunió de bruixots i bruixes en forma de boc estava ben arrelada. Devora el foc, ell; i posseïda per ell, Azucena. Des de les muntanyes de Biscaia: Chi del gitano i giorni abbella? La zingarella! Prenent de punt de partida Azucena com a impulsora activa de la trama i del seu desenllaç, vaig decidir acostar la bruixeria de Il trovatore al costat més romàntic: sentiments duits al límit, amor, passió, fosca, patiment i mort. Tota la posada en escena té un to fosc, dramàtic i passional. Al cap i a la fi, és sens dubte un drama romàntic, gairebé en podríem dir un gran drama fantàstic en el qual els personatges estimen i odien sense mesura. Per què no l’hauríem de poder dur fins als mateixos límits de la imaginació màgica, cruel i fosca? L’estructura reposa sobre els dos grans temes que dominen el drama: l’amor i la venjança. Quan es desenvolupa un projecte com aquest, no podem fer retxes dins l’aigua. Il trovatore de Verdi té una estructura clara i meditada: I com a colofó, una característica uniforme a Il trovatore: TOT s’esdevé a la nit. Ens ho recorda el text constantment. Durant la narració de Ferrando Quatre actes, cadascun dels quals dividit en dos quadres en què es senten tocar mitjanit. L’escena immediata es manté en nocturnitat. combinen dos tipus d’escenes mantenint l’eix de simetria. Canviam d’acte i s’acosta l’alba al campament gitano. Al convent, és de nit. Durant el tercer acte els soldats atacaran el castell a l’alba… Si tot Quatre personatges protagonistes: Manrico, Leonora, Azucena i el Conte passa a la nit, jugam amb avantatge al món de la imaginació. A la nit tot di Luna. és possible. En el moment en què la Lluna amb la seva força i magnetisme ens il·lumina, no tornam éssers udoladors? La nit desperta l’amor, els Un argument teixit en base a tres temes: desitjos i la bruixeria. TOT s’esdevé a la nit. Somni/vetla. Trànsit? No és per ventura quelcom semblant, que sacseja Azucena quan queda 1. Les venjances respectives de la gitana Azucena (per sa mare) i del embadalida mirant les flames, que li recorden sa mare morta al foc? Conte di Luna (pel seu germà). Si és així, tenia, com a directora, les eines necessàries per acostar aquesta 2. L’amor de Manrico i el Comte per una mateixa dona (Leonora). posada en escena a l’obscurantisme, a les llegendes cruentes, a la passió 3. La guerra civil entre els seguidors del Comte d’Urgell i els de Ferran i a les coses sinistres. Prenc aquesta base i l’estendard del romanticisme: d’Antequera (el futur Ferran I d’Aragó), que col·loca en bàndols oposats triomf del sentiment, la passió damunt la raó. Passió per les coses Manrico i el Conte di Luna. extraordinàries, per l’esdeveniment esgarrifós… El còctel era perfecte: introduir cada ingredient dins la meva ment, batre’l un poc i desenvolupar Totes les escenes (tret de la darrera) es concentren en un dels costats un meravellós conte per a l’espectador. “emocionals” de la trama. Vull contar un conte. Una llegenda. Contada/sustentada per l’imaginari. La construcció dels finals de cada acte els fa culminar en una seqüència Colors contrastats i molta màgia. Una història que els ancians contaven de gran dinamisme i de violència més o menys expressa que, a més, inclou de generació en generació fent volar la imaginació de la gent que els una dosi de suspens.
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