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RIP Fischer-Dieskau RIP Fischer-Dieskau Dietrich Fischer-Dieskau (1925-2012) Como diz o obituário do Süddeutsche Zeitung, é morto o cantor do século, Dietrich Fischer-Dieskau. Atingir um julgamento objetivo do melhor cantor do século XX é sem dúvida uma tarefa impossível e cada um vai terminar por escolher o seu cantor preferido. No entanto, poucos outros cantores possuem um currículo tão rico e vasto quanto Dietrich Fischer-Dieskau. [kad_youtube url=”http://www.youtube.com/watch?v=xtmhF2ZGlPc” maxwidth=”600″] Dietrich Fischer-Dieskau com 65 anos, acompanhado de Murray Perahia, em “Auf dem Flusse” do ciclo Winterreise de Schubert Poucos outros cantores tiveram a longevidade musical e a fecundidade que ele teve. Uma lista exaustiva de cantores e músicos com os quais ele cantou é um trabalho enorme, no entanto, podemos fazer uma breve lista: Klemperer, Karajan, Solti, Bernstein, Karl Richter, Karl Böhm, Kempe, Sawallisch, Fricsay, Carlos Kleiber, Rafael Kubelik, Jochum, Pierre Boulez, Barenboim, Sviatoslav Richter, Horowitz, Murray Perahia, Alfred Brendel, András Schiff e virtualmente todos os grandes cantores alemães do século XX. Em outras palavras, Fischer-Dieskau é parte viva e essencial da cultura musical do século XX. Ele não apenas se destacou como grande intérprete, mas fez parte de muitos dos grandes movimentos, como a valorização de Mahler nos anos 60 e 70, como a vinda ao primeiro plano de grande parte da música de Bach e Händel. Embora Fischer-Dieskau pertença a um horizonte estilístico anterior à música de época, as suas gravações com Karl Richter certamente ajudaram a desenvolver o interesse nesta música, ainda que em alguns casos esta música sobreviva apenas como documento histórico (como, por exemplo, sua gravação do Orfeo de Gluck). Sua carreira foi tão longeva que surpreende lembrar que ele tomou parte em uma das primeiras gravações comerciais completas de Tristão e Isolda, sendo um ótimo Kurwenal ao lado de figuras do passado como Kirsten Flagstad e Wilhelm Furtwängler. Esta gravação é um arquivo histórico porque até recentemente, quando foram descobertas fitas e gravações radiofônicas antigas, era um dos poucos registros operísticos completos daquela que foi considerada uma das grandes cantoras do século e uma das duas únicas gravações em estúdio completa de Wagner feitas pelo grande regente alemão da primeira metade do século XX (a outra sendo uma Valquíria, obrigado ao Pádua pela informação nos comentários). Nota-se, portanto, como a carreira de Dietrich Fischer-Dieskau se estende e faz parte de toda a cultura musical do século passado. A grande especialidade de Fischer-Dieskau, no entanto, foi, certamente, a canção. Seu nome foi praticamente sinônimo de Schubert e ele entrará para a história como o mais importante cantor do gênero (deixemos “o melhor” para discussão de bar). Ele deixou nada menos do que onze gravações completas do Winterreise, acompanhadas desde o famoso acompanhante Gerald Moore até grandes pianistas como Daniel Barenboim, Alfred Brendel e Sviatoslav Richter. Seu estilo musical cabia perfeitamente dentro do gênero, uma vez que, mais do que qualquer outro cantor antes dele, ele valorizava e dava grande destaque à pronúncia das palavras, o que, num gênero em que música e poesia estão tão interligados, torna-se uma grande virtude. Ele também tinha uma característica, a qual foi aumentando com o tempo, de interpretar cada palavra com portamentos às vezes individuais: seu objetivo era extrair o máximo de significado poético e musical de cada Lied. http://www.youtube.com/watch?v=i9t5VCPD8UQ Pode-se questionar o sucesso desse estilo em outros gêneros. Seu sucesso em Wagner certamente não é comparável ao seu sucesso em Schubert e menos ainda pode-se dizer que ele tenha se tornado um intérprete natural de Verdi, apesar de participar de pelo menos duas grandes gravações do compositor: um Falstaff com Bernstein e um Rigoletto com Kubelik. Na minha opinião, seu estilo “parlato” não se casa bem com a melodia linear da ópera italiana e ele é um cantor de menor importância no gênero, certamente não comparável a cantores como Ettore Bastianini, Leonard Warren, dentre outros. Mas esta é a sina dos músicos de sucesso, muitas vezes são levados a atuar em áreas distantes de sua formação musical. Fischer-Dieskau recebe as mesmas críticas que músicos como Karajan, Horowitz, dentre outros, recebem ao transpor gêneros e estilos. Por fim, é importante lembrar a contribuição de Fischer-Dieskau para a música nova (ainda que, dada a longevidade de sua carreira, a música hoje tenha mais de cinquenta anos…). Seria demais lembrar todas as criações feitas em seu nome, mas algumas das obras musicais mais importantes da segunda metade do século XX foram dedicadas ou compostas para ele. Basta lembrar da ópera Lear de Aribert Reimann, infelizmente pouco conhecida, mas uma das grandes óperas da segunda metade do século XX, cujo papel título foi composto especialmente para ele; do famoso War Requiem de Benjamin Britten, que também foi composto e dedicado com sua parte de barítono para ele; e a curiosa peça Les Espaces du Sommeil, de Witold Lutoslawski. Três estilos completamente diferentes, que dão mostra da profundidade da musicalidade e do alcance de Dietrich Fischer- Dieskau, um dos maiores músicos do século XX. [kad_youtube url=”http://www.youtube.com/watch?v=sZ5srOEgJFQ” maxwidth=”600″].
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