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L'elisir D'amore

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L'elisir D'amore L‘ELISIR D‘A MORE DONIZETTI Argument MT / 3 L’elisir d’amore Argument 4 / 5 L’elisirTorna al d’amore Liceu L’elisir d’amore de Mario Gas amb la direcció musical de Ramón Tebar (L’elisir d’amore la temporada 2012/13) Argument Fitxa Una producció d’èxit 6 / 7 9 45 Xavier Pujol Repartiment Entrevista a 10 51 Jessica Pratt Amb el teló abaixat 12 L’elisir d’amore al Gran 59 Teatre del Liceu 17 Argument Jaume Tribó Cronologia 25 English Synopsis 66 Jordi Fernández M. Sobre la producció Selecció d’enregistraments 31 Mario Gas 73 Arturo Reverter Una òpera còmica Biografies 35 tardana Mercedes Conde 76 L’elisir d’amore Temporada 2017-18 8 / 9 L’ELISIR D’A MORE Melodramma giocoso en dos actes. Llibret de Felice Romani. Música de Gaetano Donizetti. Estrenes 12 de maig de 1832: estrena absoluta al Teatro della Canobbiana de Milà 8 de maig de 1833: estrena a Barcelona al Teatre de la Santa Creu 5 de febrer de 1848: estrena al Gran Teatre del Liceu 5 de juny de 2013: última representació al Liceu Total de representacions al Liceu: 93 Gener 2018 Torn Tarifa 7 18:00 F 5 Durada total aproximada 2h 45m 9 20:00 G 6 (*): Amb audiodescripció 12 20:00 E 5 14 18:00 PD 5 16 20:00 PE 6 18 20:00 B 5 22 20:00 A 5 24 20:00 D 6 26 20:00 H 5 28* 17:00 T 5 Uneix-te a la conversa #LelisirLiceu liceubarcelona.cat facebook.com/liceu @liceu_cat @liceu_opera_barcelona L’elisir d’amore Adina, jove camperola Jessica Pratt Nemorino, jove camperol Pavol Breslik Belcore, oficial Paolo Bordogna Dulcamara, venedor ambulant Roberto de Candia Giannetta, amiga d’Adina Mercedes Gancedo Repartiment 10 / 11 Direcció musical Ramón Tebar Direcció d’escena Mario Gas Escenografia i vestuari Marcelo Grande Il·luminació Quico Gutiérrez Assistents de la direcció d’escena Albert Estany Elisa Crehuet Producció Gran Teatre del Liceu Orquestra Simfònica i Cor del Gran Teatre del Liceu Direcció del Cor Conxita Garcia Concertino Kostadin Bogdanoski Assistència a la direcció musical Daniel Mestre Assistents musicals Rodrigo de Vera, Vanessa García, Soojeong Joo i Jaume Tribó L’elisir d’amore AMB EL TELÓ ABAIXAT Compositor Gaetano Donizetti (1797-1848) és considerat, juntament amb Gioac- hino Rossini i Vincenzo Bellini, un dels principals artífexs del bel canto romàntic italià. Molt prolífic –amb més de seixanta òperes–, vatastar el gènere buffo i el serio, així com l’opéra comique i la grand opéra fran- cesa. Títols com Lucia di Lammermoor, Anna Bolena, Lucrezia Borgia, Don Pasquale o La fille du régiment són alguns del més famosos que va escriure i que actualment es mantenen en repertori. Dotat d’una capacitat de treball extraordinària, Donizetti e s va arre- cerar ocasionalment en les formes clàssiques –especialment en les òperes còmiques, a l’estil de L’elisir d’amore–, mentre que d’altra banda va saber innovar en el terreny dramàtic i preparar el relleu generacional que assumiria Verdi a partir de la dècada del 1840, quan Donizetti ja era un artista consagrat i reconegut arreu de l’Europa musical del moment. Tot i els seus múltiples èxits (superiors en nombre als escassos fracassos), Donizetti va ser un home marcat per la tragèdia familiar, amb la mort de la muller i els tres fills i amb una demència progressiva 12 / 13 causada per la sífilis a partir del 1843, amb la qual va acabar els seus dies a la ciutat de Bèrgam, la mateixa que l’havia vist néixer. Llibret i llibretista El llibret de L’elisir d’amore és un dels més originals, divertits i concisos de Felice Romani, poeta genovès que va viure entre el 1788 i el 1865 i autor de més de cent llibrets, escrits, entre d’altres, per a Donizetti i Bellini. Inspirat en l’òpera Le philtre de D. F. E. Auber amb text d’Eugène Scribe, que es basava en Il filtro de Silvio Malaperta, Romani va saber trobar l’equilibri entre la versificació pròpia de l’òpera còmica i la inherent a personatges seriosos, tot superant amb escreix el llibret original. A L’elisir d’amore els caràcters estan molt ben definits, amb elements caricaturescos per a Dulcamara i el fatxenda Belcore, co m si es tractés d’una peça pròpia dels cannovacci de la Commedia dell’arte, al·ludida al banquet de noces amb què s’inicia el segon acte. L’elisir d’amore Estrena En un sol any (1832) Donizetti va escriure quatre òperes: Ugo, conte di Parigi (La Scala de Milà), Sancia di Castiglia (San Carlo de Nàpols), Il furioso all’isola di San Domingo (estrenada al Teatro Valle de Roma el 1833). La primera representació de L’elisir d’amore va tenir lloc al Teatro della Canobbiana de Milà el 12 de maig de 1832, entre Ugo... i Sancia di Castiglia. Escrita en poques setmanes durant aquella intensa primavera, l’òpera va obtenir un èxit esclatant i es va representar aviat arreu d’Itàlia i de l’Europa operística. Part de l’èxit va ser pel manteniment dels postu- lats de l’òpera buffa, però amb concessions a la inflexió romàntica, plas- mada especialment en el personatge de Nemorino, imbuït d’un atractiu sentimentalisme. Estrena al Liceu A Barcelona, L’elisir d’amore es va poder veure per primera vegada encara no un any després de les primeres representacions milaneses, el 8 de maig de 1833, a l’escenari de l’antic Teatre de la Santa Creu (posteriorment Principal) i va esdevenir un títol molt popular. Al Liceu va arribar el 5 de febrer de 1848, dies després de l’estrena a Barcelona –i al mateix Teatre– de Don Pasquale. Precisament el nom de Pasqualotto va ser com es va anomenar a les funcions de L’elisir... el personatge de Nemorino, cantat per Giovanni Battista Verger. La seva esposa, la soprano Amalia Brambilla Verger, va cantar al s egon acte una ària de bravura que li havia escrit per a l’ocasió Marià Obiols, a leshores director musical del Liceu. Amb el teló abaixat 14 / 15 Muntatge de l’escenografia de L’elisir d’amore al Liceu el mes de desembre de 2017 L’elisir d’amore Rolando Villazón, Aleksandra Kurzak i Cristina Obregón a L’elisir d’amore la temporada 2012/13 16 / 17 ARGUMENT ACTE I L’acció transcorre en una plàcida i rústega població italiana.1 A la vora d’una granja, els camperols feinegen mentre es protegeixen de les incle- mències de la calor. Nemorino és un camperol ingenu i bondadós que constata la seva impotència davant de la bonica i presumida Adina, de qui està secretament enamorat.2 La jove, ignorant Nemorino, prefereix llegir amb Giannetta i les seves amigues el relat d’Isolda, que es va enamorar de Tristany gràcies a un filtre amorós.3 Una marxa militar precedeix l’entrada de Belcore, sergent fatxenda que arriba amb el seu petit regiment.4 Veient que els galons entabanen les noies del poble, l’oficial demana a Adina que s’hi casi. Tot i ser ambigua en la resposta, la noia assisteix complaguda a la gelosia de Nemorino, després d’haver-li dit que el millor és papallonejar i anar de flor en flor, tal com fa ella seguint els designis del seu esperit lliure.5 Qui arriba aleshores és Dulcamara, un venedor ambulant que apareix a la plaça del poble amb el seu servent i un carro ple d’andròmines. El personatge es presenta com un savi doctor expert en matèria de guariment de tots els mals, gràcies a un xarop que ven amb èxit arreu i que és capaç de combatre la paràlisi, l’apoplexia, l’asma, la diabetis, el Comentaris 1 Allegro, larghetto i allegretto són ingenuïtat i el caràcter enyo- partir de la intervenció d’Adina musicals les tres indicacions de tempo radís del personatge. i amb la participació igualment per al breu preludi que prece- 3 En un deliciós i desenfadat de Giannetta, Nemorino i el cor. deix el primer número de l’òpera andantino en 3/4, abans d’un 5 El duet entre Adina i Nemo- sense solució de continuïtat. canvi de dinàmica (poco più) a rino està escrit amb un domini 2 «Quanto è bella, quanto è cara» mode de masurca. absolut del pathos dramàtic. és l’ària de sortida (cavatina) de 4 L’ària «Come Paride vezzoso» Adina es mostra comprensiva Nemorino, un passatge en dues és una cavatina precedida per però esquiva amb el camperol, seccions, la primera de les quals una marxa militar, un marziale tot i que ell reforça el seu (larghetto en 2/4) està escrit en en 4/4 que denota de seguida caràcter enamoradís i fins i tot Do major, una tonalitat que pot el caràcter fatxenda, amb apassionat amb els insistents simbolitzar la innocència i els pretensions però en el fons «Perché?». sentiments purs del personatge. innocent, del sergent Belfiore. L’ària defineix a la perfecció la L’ària deriva en un concertant a L’elisir d’amore Nicole Cabell i Simone Alberghini a L’elisir d’amore al Liceu la temporada 2012/13 raquitisme i el mal del fetge.6 L’oferta deixa bocabadats els vilatans, que s’apressen a comprar el beuratge miraculós. Nemorino, que ha escoltat el discurs del nouvingut, s’hi adreça tímidament per demanar-li si entre els remeis que comercialitza té l’elixir amorós amb què Isolda i Tristany van caure rendits l’una als braços de l’altre. Sorprès i divertit davant de la pregunta, Dulcamara aprofita per fer negoci i prendre el pèl a Nemo- rino, a qui ven per unes quantes monedes un suposat elixir d’amor, que no és altra cosa que vi de Bordeus.
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