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Universidade Federal Do Paraná Marcia Eloiza Kayser Thalia E Melpomene: Anna Renzi, O Nascimento Da Prima Donna Curitiba 2015

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Universidade Federal Do Paraná Marcia Eloiza Kayser Thalia E Melpomene: Anna Renzi, O Nascimento Da Prima Donna Curitiba 2015 UNIVERSIDADE FEDERAL DO PARANÁ MARCIA ELOIZA KAYSER THALIA E MELPOMENE: ANNA RENZI, O NASCIMENTO DA PRIMA DONNA CURITIBA 2015 MARCIA ELOIZA KAYSER THALIA E MELPOMENE: ANNA RENZI, O NASCIMENTO DA PRIMA DONNA Dissertação apresentada como requisito parcial à obtenção do grau de Mestre em Música, pertencente ao Programa de Pós-Graduação em Música do Departamento de Artes, Setor de Ciências Humanas, Letras e Artes da Universidade Federal do Paraná, área de concentração de Leitura, Escuta e Interpretação. Orientadora: Profa. Dra. Silvana Scarinci. CURITIBA 2015 Catalogação na publicação Sistema de Bibliotecas UFPR Biblioteca de Artes, Comunicação e Design/Batel (Elaborado por: Karolayne Costa Rodrigues de Lima CRB 9/1638) Kayser, Marcia Eloiza Thalia e Melpomene: Anna Renzi, o nascimento da Prima Donna / Marcia Eloiza Kayser. – Curitiba, 2015. 189 f. : il. Orientadora: Profª. Drª. Silvana Ruffier Scarinci. Dissertação (Mestrado em Música) – Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. 1. Renzi, Anna (1620-1661) 2. Prima donna (Ópera). 3. Ópera veneziana - Séc. XVII. 4. Barroco (Música). I.Título. CDD 782.1094 À força que move meu espírito. AGRADECIMENTOS O meu agradecimento mais que especial à minha querida orientadora, Dra. Silvana Scarinci, pelos ensinamentos e companheirismo musical, incentivando e desejando o meu melhor. À banca examinadora, Dra. Rosane Cardoso de Araújo e Dra. Lucia Becker Carpena, pela atenção e sugestões para completar minha pesquisa. À CAPES, instituição de fomento que viabilizou esta pesquisa. Aos professores e funcionários do Departamento de Artes da UFPR, os quais aprendi a respeitar pela sua dedicação. Ao LAMUSA, grupo pelo qual fui convidada a participar como intérprete e que foi a porta de entrada à UFPR e responsável pela imersão na música barroca. Aos amigos na música, colegas e parceiros nesta vida apaixonante de cantora-atriz. À Lúcia de Vasconcellos, pela atenção e respaldo inicial ao meu pré-projeto de mestrado. A Roger Burmester, por ter me apresentado à Silvana Scarinci. E sobretudo à minha família, em especial à minha mãe Vera, meu porto seguro nesta caminhada. "É a idade do aparecimento da voz feminina – previamente ouvida, e não, como alguns lamentos, silenciado". Margareth L. King, Women’s voice, the early modern, and the civilization of the west,” Shakespeare Studies 25 (1997), p. 21. RESUMO Esta dissertação aborda o surgimento da prima donna na ópera italiana e teve como objetivo principal confirmar este lugar inaugural na figura da cantora- atriz, Anna Renzi. Para tanto, foram estudadas as óperas idealizadas por libretistas e compositores para a sua atuação, e as conexões com a situação econômica, e o cenário cultural e ideológico que regiam a Veneza do século XVII, com a presença marcante da Accademia degli Incogniti. Por fim, apresentamos uma breve análise texto-musical para explicar a capacidade extraordinária de Anna Renzi em personificar os seus vários papéis. Com este trabalho, buscamos permitir a outros executantes ou pesquisadores uma melhor compreensão e acesso aos elementos para a performance historicamente informada deste repertório. Palavras-chave: Anna Renzi; Prima Donna; Barroco; Ópera veneziana do século XVII. ABSTRACT This dissertation deals with the emergence of prima donna in Italian opera and aimed to confirm it in the figure of the singer-actress, Anna Renzi. Therefore, connections were established between the idealized operas by librettists and composers to her activity, the economic, cultural and ideological scenario governing the Venice of the seventeenth century, with the presence of the Accademia degli Incogniti. Finally, we presente a brief text-musical analysis to explain the extraordinary ability to Anna Renzi to impersonate her various and distinct roles. With this work we aim also to allow other performers or researchers to reach a better understanding and access to elements of the Historically Informed Performance of this repertoire. Key-words: Anna Renzi; Prima Donna; Baroque; Venetian opera of the seventeenth century. LISTA DE FIGURAS FIGURA 1: Giovanni Antonio Canal (1697 – 1768), dito Canaletto. “O Grande Canal e a Igreja da Saúde”, óleo s/ tela (1730), Museu das Belas Artes de Houston........................................................................................................21 FIGURA 2: Jacopo Tintoretto (1518 –1594). “O roubo do corpo de São Marcos”, 1562 –1566. Óleo sobre tela, 398 x 315 cm. Galleria dell'Accademia, Veneza.22 FIGURA 3: Vittore Carpaccio (1465 – 1526), Leone di San Marco andante. Óleo sobre tela, 1516. Palazzo Ducale, Veneza ............................................22 FIGURA 4: Domenico Tintoretto (1560 – 1635),Venezia seduta tra gli dei riceve i doni del mare (1584). Afresco, Sala del Senato, Palazzo Ducale, Veneza........................................................................................23 FIGURA 5: Hieronymus Francken (cerca de 1540 – 1610). “A Companhia dos Cômicos I Gelosi com Isabella Andreini em uma performance em Paris” (cerca de1590). Pintura flamenga do século XVI. Óleo sobre tela. Musée Carnavalet, Paris......................................................................................................35 FIGURA 6: Bernardino Poccetti (1548 – 1612). Francesco Andreini vestido de Capitão Spaventa. Afresco. Claustro da Chiesa della Santissima Annunziata, Florença...........................................................................................................37 FIGURA 7: Raphael Sadeler. Retrato de Isabella Andreini (1602). Frontispício de “Rimas”, Coleção de poemas e sonetos de Isabella Andreini. Retrato entalhado.Milão................................................................................................3737 FIGURA 8: Hyacinthe Langlois (1777 – 1837). “Hellequin, o caçador amaldiçoado”. Letra inicial capitular de um livro sobre tradições, lendas e superstições populares: Normandie romanesque et merveilleuse de Amèlie Bosquet (1875). Rouen.39 FIGURA 9: Jacques Callot. Frontispício de Balli di Sfessania(cerca de 1621/1622). Cabinet des Estampes, Bibliothèque Nationale.....40 FIGURA 10: Giulio Strozzi (1583-1660). Cópia de parte do prefácio do libreto da ópera La finta savia. Tradução: Muitos dos versos originais serão cortados para permitir que a mesma seja representada sem canto..47 FIGURA 11: Bernardo Strozzi. Giulio Strozzi (1635). Óleo sobre tela, 119.3 x 114.8 cm Collection: The Ashmolean Museum of Art and Archaeology, Oxford...57 FIGURA 12: Autor desconhecido do século XVII. Retrato de Giacomo Torelli. Óleo sobre tela. Museu Cívico de Fano.....58 FIGURA 13: Accademia degli Incogniti. Retrato de Anna Renzi, Le glorie della signora Anna Renzi romana (1644). Fondazione Scientifica Querini Stampalia, Veneza.59 FIGURA 14: Giulio Strozzi. Frontispício do libreto da ópera La finta pazza (1641), Veneza.................................................................................................60 FIGURA 15: Accademia degli Incogniti. Frontispício de Il Cannochiale per La finta pazza (1641), Veneza...61 FIGURA 16: Giulio Strozzi. Le glorie della signora Anna Renzi romana (1644), frontispício. Fondazione Scientifica Querini Stampalia, Veneza......................62 FIGURA 17: Giulio Strozzi. La Venetia Edificata (1624), frontispício. Veneza.............................................................................................................83 FIGURA 18: Laurent Delvaux, Vertumnus e Pomona (1725), Victoria & Albert Museum, Londres...89 FIGURA 19: Guillaume Rouille (1518? – 1589). Rainha Rhodope da Trácia, mulher de Haemus, “Promptuarii Iconum Insigniorum, 1553, p.98, Lyon..94 FIGURA 20: Jacques Granthomme II (1550/60 – c.1622). Sibylla Cumaea (c. 1607). Gravura feita posteriormente por Crispyn de Passe. Gravuras e Desenhos Göttweig, Departamento da Ciência da Imagem, Donau-Universität Krems....................................................................................108 FIGURA 21: Galeazzo Gualdo (1606 – 1678). História Sacra Real de Sua Majestade, Alessandra Di Cristina Rainha da Suécia, 1656, Veneza...113 FIGURA 22: Giovanni Battista Fusconi. Libreto da ópera Argiope (1649), frontispício, Consacrata al chiaro merito della Signora Anna Renzi, Veneza...........................................................................................................117 FIGURA 23: Giovanni Battista Fusconi. Libreto da ópera Argiope (1649). Dedicatória à Anna Renzi, primeira parte....119 FIGURA 24: Giovanni Battista Fusconi. Libreto da ópera Argiope (1649). Dedicatória à Anna Renzi, segunda parte...119 FIGURA 25: Aurelio Aureli/ Andrea Ziani. Ópera Le fortune di Rodope e Damira ( 1657), cena V. Introdução. Compassos 1 a 4...133 FIGURA 26: Aurelio Aureli/ Andrea Ziani. Ópera Le fortune di Rodope e Damira (1657), cena V. Compassos 5 a 9, Seção I, Verso 1...134 FIGURA 27: Aurelio Aureli/ Andrea Ziani. Ópera Le fortune di Rodope e Damira (1657), cena V. Compassos 10 a 14.135 FIGURA 28: Aurelio Aureli/ Andrea Ziani. Ópera Le fortune di Rodope e Damira (1657), cena V. Compassos 15 a 19, final do verso 1, começo do verso 2............................................................................................................135 FIGURA 29: Aurelio Aureli/ Andrea Ziani. Ópera Le fortune di Rodope e Damira (1657), cena V. Compassos 20 a 24. Final do verso 2, começo do verso 3...136 FIGURA 30: Aurelio Aureli/ Andrea Ziani. Ópera Le fortune di Rodope e Damira (1657), cena V. Compassos 25 a 29. Fim do verso 3,
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