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La Putta Che Canta

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La Putta Che Canta UNIVERSITETET I OSLO La Putta che canta SANG OG ESTETIKK I TIDLIG VENEZIANSK OPERA INSTITUTT FOR MUSIKKVITENSKAP HØST 2011 KATARINA I. D’ AILHAUD DE BRISIS 1 2 Per gli onorabili Signori eruditi Høyst ærede professorer, lektorer, adjunkter og lærde lesere, jeg presenterer her for Dere min avhandling om operasang i Venezia på 1640 – 1650-tallet. Vel vitende om det høye kunnskapsnivå Dere representerer på dette område, bøyer jeg meg i støvet for en slik visdom og integritet Dere utviser i det offentlige rom. Likevel drister jeg meg til å heve min ringe stemme og komme med noen tanker og ideer jeg har formulert underveis i arbeidet. Materialet som finnes innenfor feltet veneziansk opera er så omfattende at jeg har sett meg nødt til å ta noen valg. Dette gjelder både undersøkelsesmetodene, musikalsk og historisk avgrensning, avhandlingens orientering som helhet og i dens enkelte deler. Siden epokens estetikk og gitte rammer er tema for avhandlingen, har det vært nødvendig å definere noen begrep. Skulle mine definisjoner og estetiske betraktninger stride mot Deres, høyst ærede lesere, ber jeg Dere om å vise tålmodighet med meg. Den foreliggende teksten er skrevet i en helt konkret hensikt: å forsøke å forstå en tid, en estetikk og en musikkdramatikk som ligger nærmere firehundre år bak oss. Som den idealistiske person jeg er, eller liker å se meg selv som, gjenspeiler min tekst også et ønske. Denne skatt fra en annen tid og et annet land er ikke, ved nærmere gjennomsyn, så fjern fra vår verden som vi kanskje først skulle tro. Å la de venezianske tonene klinge på ny på våre operascener, ville være den største gevinsten av mitt prosjekt, selv om jeg er altfor beskjeden til å ha slike høyt flyvende ambisjoner. Derfor ber jeg om at Dere ser mine ord som det de er; et lite, og for noen kanskje nokså ubetydelig, innspill om den skjønne forening av musikk, sang og teater. Jeg vil i den anledning få lov til å dedikere mitt bidrag til de musikkens og tekstens mestere som har vært mine følgesvenner under de år jeg har brukt på arbeidet; librettoenes trollmann Giovanni Faustini og musikkdramatikkens maestro Francesco Cavalli. Uten dem hadde denne tekst neppe sett dagens lys. Må deres arbeid lyse for alltid som en ledestjerne for oss andre i musikkens og operaens tjeneste. Deres ydmyke tjener, Katarina I. d’ Ailhaud de Brisis. 3 Stor takk til Ståle Wikshåland for verdifull veiledning. Takk også til Pierre de Brisis, Kristin Magret Brækken, Giuseppe Grattacaso, Sergio Sabbatini og Ståle Ytterli. 4 Innholdsfortegnelse Per gli onorabili Signori eruditi ............................................................................................................... 3 1. Argomento ....................................................................................................................................... 9 1.1. Hypotese og bakgrunn ............................................................................................................. 9 1.2. Hovedtemaer og metoder ...................................................................................................... 10 1.3. Valg og avgrensninger ........................................................................................................... 10 1.3.1. Ikke kastratsangernes historie ........................................................................................ 10 1.3.2. Syngedamen .................................................................................................................. 11 1.3.3. Oversettelser .................................................................................................................. 11 2. Dramma per Musica a Venezia ..................................................................................................... 13 2.1. Venezia .................................................................................................................................. 14 2.1.1. Beliggenhet og handel ................................................................................................... 14 2.1.2. Samfunnets struktur og organisering ............................................................................. 16 2.1.3. Frihetens Venezia? ........................................................................................................ 17 2.1.4. Universitetet i Padova.................................................................................................... 19 2.1.5. Accademia degli Incogniti ............................................................................................. 20 2.2. En veneziansk opera .............................................................................................................. 21 2.2.1. Representasjon og iscenesettelse ................................................................................... 21 2.3. Konen, nonnen og kurtisanen ................................................................................................ 24 2.3.1. Svartebøker .................................................................................................................... 24 2.3.2. Kvinnen som hevet stemmen ......................................................................................... 24 2.3.3. Vold og straff ................................................................................................................. 26 2.3.4. Poppeas moral ............................................................................................................... 28 2.4. Offentlig, kommersiell og profesjonell opera........................................................................ 29 2.4.1. Kriterier for en offentlig opera ...................................................................................... 29 2.4.2. San Cassiano 1637 ......................................................................................................... 30 5 3. Estetikk i veneziansk opera ........................................................................................................... 35 3.1. Smak ...................................................................................................................................... 36 3.1.1. En barokk estetikk ......................................................................................................... 36 3.1.2. Estetiske konsekvenser .................................................................................................. 37 3.1.3. Å vise ”Ingenting” ......................................................................................................... 38 3.1.4. Sang eller tale? .............................................................................................................. 41 3.2. Sangere .................................................................................................................................. 42 3.2.1. Den syngende kurtisane ................................................................................................. 43 3.2.2. Den profesjonelle sanger ............................................................................................... 43 3.2.3. Anna Renzi .................................................................................................................... 44 3.2.4. Ornament som dramaturgisk verktøy ............................................................................ 46 3.3. Marked................................................................................................................................... 48 3.3.1. Offentlig opera? ............................................................................................................. 49 4. Bel Canto ....................................................................................................................................... 50 4.1. Hensikt, fokus og tese ........................................................................................................... 50 4.2. Å definere Bel Canto ............................................................................................................. 52 4.2.1. Vakker ornamentert sang ............................................................................................... 53 4.2.2. Chiaroscuro ................................................................................................................... 54 4.2.3. Ornamenter .................................................................................................................... 55 4.2.4. Egalisering og registeroverganger ................................................................................. 56 4.3. En sang som henrykker sjelen ............................................................................................... 59 4.3.1. Sprezzatura .................................................................................................................... 60 4.4. Tekster om sang og egalisering ............................................................................................. 63 4.4.1. Caccini: Le nuove musiche 1601................................................................................... 64 4.4.2. Tosi: Opinioni de’ cantori antichi, e moderni, o sieno osservazioni sopra il canto figurato 1723 ................................................................................................................................. 65 4.4.3. Garcia: Hints on singing 1894 ....................................................................................... 66 6 4.4.4. Brown: Discover your voice 1996
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