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Cecilia Bartoli St Petersburg CECILIA BARTOLI ST PETERSBURG I BAROCCHISTI DIEGO FASOLIS ST PETERSBURG FRANCESCO DOMENICO ARAIA 7 Pastor che a notte ombrosa (Demetrio) 10.15 29 Timing Page Seleuco with Pier Luigi Fabretti oboe FRANCESCO DOMENICO ARAIA 1709–c.1770 HERMANN RAUPACH 1 Vado a morir (Minerva) 7.18 25 La forza dell’amore e dell’odio 8 March (Orchestra) 2.20 29 Altsesta HERMANN RAUPACH 1728–1778 VINCENZO MANFREDINI 2 Разверзи пёс гортани, лая (Razverzi pyos gortani, laya) (Gerkules) 6.56 25 9 Non turbar que’ vaghi rai (Carlo) 9.14 29 Carlo Magno 3 Иду на смерть (Idu na smert) (Altsesta) 12.38 26 with Jean-Marc Goujon flute Altsesta 4 O placido il mare (Laodice) 6.29 26 DOMENICO CIMAROSA 1749–1801 Siroe, re di Persia 0 Agitata in tante pene (Idalide) 8.10 30 La vergine del sole DOMENICO DALL’OGLIO c.1700–1764 with Corrado Giuffredi clarinet LUIGI MADONIS 1690–1767 5 De’ miei figli (Rutenia) 4.31 28 VINCENZO MANFREDINI (Hasse) Prologue to La clemenza di Tito ! A noi vivi, donna eccelsa (Coro) 3.14 30 with Marco Brolli flute · Michele Pasotti archlute Carlo Magno with Silvana Bazzoni soprano VINCENZO MANFREDINI 1737–1799 Coro della RSI Radiotelevisione svizzera 6 Fra’ lacci tu mi credi (Desiderio) 6.53 28 Chorus Master: Gianluca Capuano Carlo Magno Cecilia Bartoli I Barocchisti · Diego Fasolis 3 UN VIAJE A RUSIA que era alemana. Y cada una de las tres Petersburgo. Desde el principio contó tenía sus especiales motivos para con excelentes miembros, como el acercar a Rusia al Occidente “civilizado”. excelente violinista y compositor Hasta finales del siglo XVII Rusia fue Domenico Dall’Oglio, probablemente un un reino poderoso y temible, aunque discípulo de Vivaldi y Tartini. Dall’Oglio ¡Acompáñenos a un fascinante viaje de TRES ZARINAS prácticamente cerrado a la influencia y su colega violinista y compositor Italia a Rusia! Es sabido que toda una Tres figuras femeninas que lo dominan extranjera. Pedro el Grande es quien Luigi Madonis escribieron para las serie de ilustres compositores de ópera todo, tres poderosas zarinas condujeron hacia 1700 acometió la tarea festividades de la coronación de Isabel italianos trabajaron al servicio de los el destino del Imperio ruso en el siglo sobrehumana de transformar el imperio, un prólogo para la ópera de Hasse La zares rusos, entre ellos Galuppi, Paisiello, XVIII: Anna (1730–1740), Isabel (1741–1761) en el lapso de una sola vida, así que pasó clemenza di Tito. Durante el reinado de Cimarosa y Sarti, incluso Giuseppe y Catalina (1762–1796). Tres soberanas de ser de un Estado campesino devoto, Anna se organizó e institucionalizó una Verdi, cuya La forza del destino se absolutistas que prosiguieron y místico, letárgico, hiperconservador e rica vida musical. Entre otras cosas, a estrenó en 1862 en el teatro de ópera culminaron la gesta iniciada poco antes infradesarrollado para convertirse en partir de 1732 ella amplió activamente imperial de San Petersburgo. La por Pedro el Grande de lograr la una potencia mundial ilustrada fuerte, la ínfima capilla de la corte hasta floración de la ópera italiana en Rusia va completa remodelación de Rusia a partir moderna y occidental. En un principio convertirla en una orquesta presentable unida, en cambio, a Catalina la Grande, del modelo de los Estados ilustrados sirvieron de modelo Alemania, Inglaterra y fundó la primera academia de música que reinó entre 1762 y 1796. Y el estreno europeos. La zarina Anna Ioánnovna y los Países Bajos, pero también muy de Rusia. Por tanto, cuando se examina en 1836 de Una vida por el zar de Glinka pasó la mayor parte de su vida en pronto la Francia del Absolutismo. más de cerca, el reinado de Anna, que puso finalmente las bases para una Curlandia y se mantuvo apartada del suele tener la mala fama de haber sido tradición operística propia y nacional. modo de vida tradicional ruso; Isabel — LA ÓPERA VIAJA A RUSIA decadente y despilfarrador, reviste, al Pero, ¿cómo se llegó tan lejos, cómo y la hija de Pedro con su segunda mujer, En la época de Pedro el Grande, Rusia menos para la historia de la música, una cuándo surgió en realidad la ópera en procedente asimismo de Curlandia— fue carecía prácticamente de vida musical y importancia decisiva. Rusia…? Las respuestas las encontramos educada principalmente por profesores sólo se permitió viajar a Rusia a pocos El napolitano Francesco Araia se de entrada en la poco conocida época franceses. Finalmente, Catalina, la “más músicos occidentales. Hay que convirtió así en el primer compositor de rusa del Barroco… rusa” de todas las zarinas, nació agradecer a la zarina Anna Ioánnovna la corte rusa (Nicola Porpora rechazó, realmente en 1729 en Stettin como hija que, de repente, una compañía de ópera por cierto, la invitación para ocupar un del príncipe de Anhalt-Zerbst, por lo italiana se estableciera en San puesto semejante). La ópera La forza 5 dell’amore e dell’odio de Araia, regiones del imperio, que se utilizaban como invitado el famoso castrato en el nuevo compositor de la corte. Ya estrenada en Milán en 1734, se tanto para interpretaciones religiosas Carestini en San Petersburgo y antes había sonado en 1758 en la representó a comienzos de 1736 en el como profanas, y muy pronto surgió participó, entre otras interpretaciones, residencia de verano de Peterhof la teatro del Palacio de Invierno y se tiene un fructífero intercambio entre estas en el estreno mundial de Alessandro interesantísima opera seria trágica por ello por la primera ópera “auténtica” instituciones y los compositores y nell’Indie. En ese mismo año se produjo Altsesta (“Alceste”), a partir asimismo interpretada en Rusia y por una cantantes italianos de la corte. un acontecimiento mucho más de un texto ruso escrito por Sumarókov; compañía “rusa” (para ser exactos, En los primeros tiempos se trascendental desde el punto de vista los intérpretes fueron de nuevo extranjeros establecidos en San representaba, por regla general, una histórico-musical: el estreno mundial de adolescentes procedentes de la capilla Petersburgo). El correspondiente libreto ópera por año. Lo cierto es que hasta la ópera Tsefal i Prokris (“Céfalo y de la corte. El catálogo de obras de se imprimió, además, por primera vez mediados de la década de 1750 se Procris”), de Araia. Como se desprende Raupach, desgraciadamente no muy en ruso, si bien siguió cantándose en interpretaron exclusivamente óperas del nombre, en ella se aborda un tema extenso, se encuentra entre los italiano. de Araia. La única excepción es La pastoral a la manera antigua. El libreto descubrimientos más interesantes de Como una representación operística clemenza di Tito, de Hasse, representada lo proporcionó, sin embargo, el esta época. equivalía a una ceremonia oficial, se en 1742 en Moscú con motivo de la fundador de la literatura rusa moderna, ofrecían de momento sólo en coronación de la zarina Isabel. el famoso poeta Aleksandr Sumarókov y DEL BARROCO AL festividades especiales: la onomástica está en… ¡ruso! Fue cantada por CLASICISMO, DE ARAIA A de la zarina, la coronación y los LA PRIMERA GRAN cantantes rusos, reclutados en su mayor MANFREDINI PASANDO aniversarios de la entronización. Por lo ÓPERA RUSA parte del coro de la corte y con la POR RAUPACH demás, se ofrecían regularmente ballets, A partir de ese momento, Isabel, una participación también de niños (antes Especialmente las óperas de Araia de la se interpretaban oratorios y se hacía gran amante de los placeres de la vida, de que les rompiera la voz). década de 1750, aunque también la música siempre que se presentaba la tomó el cetro en su mano. En lo político 1755 es, asimismo, un año clave encantadora música de Raupach, se oportunidad, por ejemplo en los se distanció marcadamente de su porque Hermann Friedrich Raupach, encuentran ya claramente, desde los grandes banquetes semanales o en los antecesora Anna, pero prosiguió con nacido en Stralsund, entró a formar puntos de vista estilístico, armónico y innumerables bailes. Muy pronto la corte entusiasmo el giro hacia Occidente, parte de la orquesta de la corte como formal, en el umbral del Clasicismo. quedó también al cargo de magníficos especialmente el fomento de la música, clavecinista. Con el tiempo se le Siguen oyéndose giros barrocos coros con alumnos seleccionados con algo que ya se había convertido en una confiaron tareas como compositor y tras fundamentalmente en las grandes y el mayor cuidado de entre todas las tradición. En 1755 actuó, por ejemplo, el despido de Araia en 1759 se convirtió virtuosísticas arias da capo, mientras 6 que las piezas lentas, apacibles, se se encuadran ya claramente desde el ópera públicos en diversas ciudades; los declive de las compañías de ópera caracterizan por un nuevo cromatismo y punto de vista estilístico en el mejores eran ahora privados, sus italianas. De ahí que las obras maestras simplicidad clásicos, que plantean, sin Clasicismo. No obstante, no ocupó su propietarios eran nobles ricos y en ellos de Cimarosa nacidas en Rusia no hayan embargo, exigencias no menos temibles puesto durante mucho tiempo. Tan sólo actuaban siervos de gran talento (en la tenido ninguna verdadera resonancia. a los intérpretes. seis meses después se produjo primero actualidad sigue siendo famoso el teatro Seguimos pensando en él de manera Las interpretaciones como invitada de la muerte inesperada de su patrono, de siervos del conde Sheremetev). En inmutable como autor de comedias, lo la compañía de ópera de Giovanni Pedro III, de la que no fue del todo San Petersburgo había compañías cual es injusto, como queda demostrado Battista Locatelli a partir de 1757 inocente su esposa y sucesora Catalina italianas, francesas y rusas. con el grandioso ejemplo de la opera revisten una importancia fundamental, la Grande.
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