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Boris Godunov 6 La Fenice prima dell’Opera 2008 6 2008 Fondazione Stagione 2008 Teatro La Fenice di Venezia Lirica e Balletto Modest Musorgskij Boris odunov g odunov oris oris b G usorgskij m odest odest M FONDAZIONE TEATRO LA FENICE DI VENEZIA ALBO DEI FONDATORI Stato Italiano SOCI SOSTENITORI SOCI BENEMERITI CONSIGLIO DI AMMINISTRAZIONE Massimo Cacciari presidente Luigino Rossi vicepresidente Fabio Cerchiai Achille Rosario Grasso Giorgio Orsoni Luciano Pomoni Giampaolo Vianello Gigliola Zecchi Balsamo Davide Zoggia William P. Weidner consiglieri sovrintendente Giampaolo Vianello direttore artistico Fortunato Ortombina direttore musicale Eliahu Inbal COLLEGIO DEI REVISORI DEI CONTI Giancarlo Giordano, presidente Giampietro Brunello Adriano Olivetti Andreina Zelli, supplente SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. ALBO DEI FONDATORI SOCI ORDINARI boris godunov opera in quattro atti e un prologo versione originale 1872 libretto e musica di Modest Musorgskij Teatro La Fenice domenica 14 settembre 2008 ore 19.00 turni A1-A2 martedì 16 settembre 2008 ore 19.00 turni D1-D2 giovedì 18 settembre 2008 ore 19.00 turni E1-E2 sabato 20 settembre 2008 ore 15.30 turni B1-B2 martedì 23 settembre 2008 ore 17.00 turni C1-C2 La Fenice prima dell’Opera 2008 6 Musorgskij in un ritratto fotografico di Repin. La Fenice prima dell’Opera 2008 6 Sommario 5 La locandina 7 Dimenticare Rimskij! di Michele Girardi 11 Anselm Gerhard «Roba da bambini» o «vera vocazione dell’artista»? La drammaturgia del Boris Godunov di Musorgskij tra opera tradizionale e teatro radicale 23 Guido Paduano Boris tra Riccardo III e Macbeth 41 Due opere a confronto: Boris Godunov del 1869 e del 1872 a cura di Michele Girardi 45 Boris Godunov: libretto e guida all’opera a cura di Emanuele Bonomi 101 Boris Godunov: in breve a cura di Gianni Ruffin 103 Argomento – Argument – Synopsis – Handlung 113 Emanuele Bonomi Bibliografia 121 Online: Avanti, popolo… a cura di Roberto Campanella 127 Dall’archivio storico del Teatro La Fenice Il Boris Godunov del 1872 a Venezia nel 2008 a cura di Franco Rossi Frontespizio dello spartito per la prima rappresentazione (preceduta da diverse esecuzioni parziali) al Teatro Ma- riinskij di San Pietroburgo, 1874 (versione del 1872). Cantavano: Ivan Mel’nikov (Boris), Aleksandra Krutikova (Feodor), V. M. Vasil’ev (Šujskij), V. I. Vasil’ev (Pimen), Fëdor Komissarževskij (Grigorij), Julija Platonova (Mari- na), Osip Palecek (Rangoni), Osip Petrov (Varlaam), P. Dujikov (Misail), Antonina Abarinova (Ostessa), Pavel Bu- lachov (Folle in Cristo); sul podio, Eduard Nápravník (1839-1916). boris godunov opera in quattro atti e un prologo libretto e musica di Modest Musorgskij versione originale 1872 edizione originale – elaborazione di Pavel Lamm riveduta da David Lloyd-Jones copyright ed edizione Bessel/Breitkopf,Wiesbaden sub-editore per l’Italia Casa Musicale Sonzogno di Piero Ostali, Milano personaggi e interpreti Boris Godunov Ferruccio Furlanetto Feodor Annika Kaschenz Ksenija Francesca Sassu La nutrice di Ksenija Alexandra Durseneva Vasilij IvanovicSujskij Marcello Nardis Andrej Scelkalov Valery Ivanov Pimen Ayk Martirossian L’impostore (Grigorij) Ian Storey Marina Mnisek Julia Gertseva Rangoni Valeri Alexeev Varlaam Maxim Mikhailov Misail Bruno Lazzaretti L’ostessa Francesca Franci Il folle in Cristo Shi Yijie Nikitic Giuseppe Nicodemo Un ufficiale di polizia Matteo Ferrara Mitjucha / Chruscov Elia Fabbian Un boiardo di corte Enrico Cossutta Lavickij William Corrò Cernikovskij Mattia Denti maestro concertatore e direttore Eliahu Inbal regia Eimuntas Nekrosius scene Marius Nekrosius costumi Nadezda Gultyaeva light designer Jean Kalman Orchestra e Coro del Teatro La Fenice direttore del Coro Claudio Marino Moretti Piccoli Cantori Veneziani direttore del Coro Diana D’Alessio in lingua originale con sopratitoli in italiano allestimento scenico della Fondazione Teatro del Maggio Fiorentino (Premio Abbiati 2006) 6 LA LOCANDINA direttore musicale di palcoscenico Marco Paladin direttore degli allestimenti scenici Massimo Checchetto direttore di scena e di palcoscenico Lorenzo Zanoni maestro di sala Joyce Fieldsend maestro aggiunto di sala Raffaele Centurioni altro maestro del coro Ulisse Trabacchin altro direttore di palcoscenico Valter Marcanzin assistente alla regia Marina Bianchi maestri aggiunti di palcoscenico Laura Colonnello Jung Hun Yoo Roberta Paroletti maestro rammentatore Pier Paolo Gastaldello maestro alle luci Roberto Bertuzzi altro maestro del Coro Elena Rossi (Piccoli Cantori Veneziani) capo macchinista Vitaliano Bonicelli capo elettricista Vilmo Furian capo sartoria e vestizione Carlos Tieppo capo attrezzista Roberto Fiori responsabile della falegnameria Paolo De Marchi coordinatore figuranti Claudio Colombini scene e costumi Fondazione Teatro del Maggio Fiorentino attrezzeria Fondazione Teatro del Maggio Fiorentino Rubechini (Firenze) calzature Calzature artistiche Sacchi (Firenze) parrucche Mario Audello (Torino) trucco Effe Emme Spettacoli (Trieste) sopratitoli realizzazione Studio GR (Venezia) la cura dei testi proiettati è di Maria Giovanna Miggiani Dimenticare Rimskij! Gli uomini geniali hanno spesso avuto vite difficili, e Musorgskij non fece eccezione a questa regola. Dopo il grande esperimento sinfonico della Notte sul Monte Calvo (1867), una gigantesca ciaccona piena di splendide invenzioni timbriche e armoniche, fu lui a spalancare la strada maestra dell’opera russa nella sua fase matura, iniziando a scri- vere Boris Godunov l’anno successivo. Terminò la composizione nel 1869, la sottopose alla commissione del Teatro Mariinskij di San Pietroburgo che giudicava le nuove par- titure e attese una risposta fino al febbraio del 1871. Finalmente venne a sapere che un manipolo di censori, sei su sette membri della commissione, aveva bocciato il suo lavo- ro, col pretesto che non vi aveva inserito un personaggio femminile! Il musicista si rimi- se al tavolo, e nel 1872 terminò una seconda, più ampia versione, producendo un altro capolavoro, profondamente diverso dal precedente.1 Stavolta la donna c’era e cantava per un atto intero (il terzo), anche se Marina Mnisek non risponde ai canoni dell’amo- re romantico, sempre che i giudici ne abbiano sentito davvero la mancanza. Si videro poi tre grandi scene del lavoro in alcune serate promosse da una cantante intelligente, che si fece in quattro per tutelare quel genio incompreso: il successo clamoroso portò final- mente la partitura al debutto scenico, sotto la direzione di Nápravník (probabilmente l’unico membro della commissione che aveva espresso un giudizio favorevole nel 1871). Ma era pensabile che un’opera così poco allineata ai canoni, e per giunta tratta dal Boris Godunov di Puskin, fortemente connotato ideologicamente e innovativo nei con- fronti delle forme teatrali di tradizione, si affermasse senza colpo ferire? Anselm Ger- hard, nel saggio d’apertura, attribuisce molti meriti allo scrittore, e con ragione, ma fa notare che «sotto il dominio repressivo dello zar Nicola I (1825-1855) una rappresen- tazione di questo dramma non era neppure pensabile». Puskin aveva finito la sua pièce nel 1825 e l’aveva pubblicata sei anni dopo, ma non poté vederla in teatro, visto che la première «ebbe luogo, in una versione fortemente abbreviata, solo il 17/29 settembre 1870 nel Teatro Marinskij». Andò meglio a Musorgskij, visto che la sua opera fu pro- dotta nel 1874 (anch’essa in versione accorciata), ma il nuovo Boris Godunov si spense 1 Si veda l’articolazione delle due opere nel diagramma pubblicato nelle pp. 41-44 di questo volume. In questa sede offriamo al lettore il libretto nella nuova traduzione italiana di Emanuele Bonomi, ma ragioni di spazio impe- discono di porvi a fronte il testo originale. Il lettore interessato potrà reperire l’edizione del primo libretto a stampa del 1873, conforme alla versione licenziata l’anno prima, in cirillico (impiegato anche nelle citazioni dei saggi e nel- la bibliografia) presso la sezione libretti del Teatro La Fenice, all’indirizzo http://88.32.97.252/public/libretti/. 8 MICHELE GIRARDI poco a poco, e cadde nel dimenticatoio. Il genio iconoclasta non completò mai un’altra opera e morì poco più che quarantenne nel 1881, annegando nell’alcool il dolore per l’incomprensione di cui fu circondato, dolore più che giustificato dalla consapevolezza di aver aperto un percorso nuovo per l’opera in musica. È qui che balza al proscenio il primo mèntore di questo capolavoro, Nikolaj Rimskij- Korsakov, poliedrico compositore che da ‘dilettante’ era divenuto accademico di riferi- mento. Proclamandosi mosso dall’unico desiderio di giovare alla fortuna del collega, con cui aveva condiviso la militanza nel cosiddetto «gruppo dei cinque», produsse una sua versione del Boris che, dopo la première del 1896, rielaborò fino a ricevere la consacra- zione a Parigi nel 1908. Si può dire che nella capitale dello spettacolo europeo sia defini- tivamente nato il mito dello zar Erode, destinato a crescere a dismisura nel corso del No- vecento, e in tutti i teatri d’opera del mondo, tanto che non c’è titolo russo più acclamato. Ma né i parigini, allora, né i pubblici che lo applaudirono in seguito, poterono ap- prezzare quel genio, che restò incompreso per il grande pubblico almeno fino agli anni Settanta del secolo scorso, e ancora adesso non ha definitivamente sepolto la prosopo- pea dei suoi falsi ammiratori, né i gusti di parte del pubblico che la condivide – segno, quest’ultimo, di quanto avesse colto nel segno quello spirito rivoluzionario. Rimskij- Korsakov ebbe a dichiarare un rapporto
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