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{J ^ ' H «Ew-L ^ Lli Teni|)Ora(La 2011-2012 {J ^ ' H «ew-l ^ lli Teni|)ora(la 2011-2012 O Fundació Gran Teatre del Licen Generalitat de Catalunya Ministerio de Educación, Cultura y Deporte Ajuntament de Barcelona Diputació de Barcelona Societat del Gran Teatre del Liceu Consell de Mecenatge òpera Liceu O Barcelona 11/12 Gràcies per fer-ho possible. Mecenes "TUefunUa ®S Santander LAVANGUARDIA InCaixa abertij gosNatural íbbkmíè m\i Fundació en fenosa endesa 1 OHL ^3 MFG KLSMLINDO '/// catalunya Leading new Uimking COMSA EL PAIS --L- ManpowerGroup' rAdio EMTE bankinter EIISMEZIEa ofts^Metrooo itans rtve üas Patrocinadors -.y. -^1/ Abantia indra —Cofidis xí>cespa Inibsa <■...« ^as Wj m 7,\ Protectors ABC, Almirall, Barcelona Televisió, Basf, Chocolat Factory, Coca-Cola, Cofely, Danone, Ercros, Euromadi, Expansion, Perrero Ibérica, Fiatc Assegurances, Fiuidra, Fundació CatalunyaCaixa, Fundació Lluís Carulla, Fundació Puig, Fundación Cultural Banesto, GFT, Grafos, Gran Casino de Barcelona • Grup Peralada, GVC-Gaesco, Klein, Laboratorios Ordesa, Metalquimia, Mylan, Nationale Suisse, NetApp, Pepsico, Port de Barcelona, Sanofl-Aventls, Transports Padrosa. Col·laboradors Accenture, Banco Mediolanum, Bon Preu, Credit Suisse, Eurofragance, General Cable, Grupo Galilea, Illy Caffè, Nextret, Saga Motors, Sogeur, Sumarroca, Urcotex. Benefactors Macià Alavedra, Salvador Alemany, María Bagués, Joaquim Barraquer, Núria Basi, Manuel Bertran, Manuel Bertrand, Agustí Bou, Carmen Buqueras, Joan Busó, Joan Camprubí, Guzmán Clavel, Josep Cusí, Antoni Esteve, Magda Ferrer-Dalmau, Sergi Ferrer-Saiat, Maria Font de Carulla, Mercedes Fuster, José Gabeiras, José Luís Galí, Francisco Gaudier, Lluís M. Ginjaume, Jaume Graell, Manuel Grau, Calamanda Grifoll, José Manuel Mas, Josep Millan, José M. Mohedano, Josep Lluís Núñez, Josep Ollu, Maria Reig, Francisco Reynés, Miquel Roca, Francisco Salamero, Maria Soldevila, Ernestina Torelló, Joan Urlach, Josep Vilarasau, Maria Vilardell t. 0 Fundació Gran Teatre del Liicen Ajuntament de Barcelona de wilíF Barcelona ('oiisell Mecenatge Generalitat de Catalunya O gran teatre del liceu Aida 0|)era en quatre actes Llibret d'Antonio Ghislanzoni Música de Giuseppe Verdi (1813-1901) Dissabte, 21 de juliol de 2012, 20.00 h Diumenge, 22 de juliol de 201 2, 1 7.00 h Dimarts, 24 de juliol de 201 2, 20.00 h Dimecres, 25 de juliol de 201 2, 20.00 h Divendres, 27 de juliol de 2012, 20.00 h Dissabte, 28 de juliol de 2012, 20.00 h Dilluns, 30 de juliol de 201 2, 20.00 h www.liceubarcelona.cat / Index 8 Repartiineiil 14 Resiini argumentai 38 L'ÒPERA Aida, una òpera per a Egipte 58 L'ÒPERA Ressuscitar una idea: els espais de VAida del 45 80 L'ÒPERA La reeixida esclava de Verdi 96 Biografies 110 Enregistraments 119 Cronologia liceísta 126 English / Français 133 Pròximes funcions Aida El rei Stefano Palatchi Direcció musical Renato Palumbo Direcció d'escena José Antonio Gutiérrez Amneris, la seva filla Luciana D'IntIno Escenografia Josep Mestres Cabanes ildiko Komiosi (22, 25 i 28 de juliol) Restaurada i adaptada per Jordi Castells Vestuari Franca Squarclapino Aida, esclava etíop Sondra Radvanovsky Il·luminació Albert Faura Barbara Haveman (22, 25 i 28 de juliol) Coreografia Ramon Oller Radamès, capità dels exèrcits Marcello GlordanI Assistent de la direcció d'escena Elisa Crehuet Cario Ventre (22, 25 i 28 de juliol) Assistent del vestuari Laura Lo Surdo Assistents de la coreografia Ángeles Lacalle I Antonio Escámez Ramfis, summe sacerdot VItallj Kowaijow Attrezzo E. Rancatl, s.r.l. Attila Jun (22, 25 i 28 de juliol) Calçat Pompel 2000, s.r.l. Perruqueria Mario Audello Amonasro, rei d'Etiòpia, pare d'Aida Joan Pons Coproducció Gran Teatre del Liceu / Àngel Òdena (22, 25 i 28 de juliol) Festival Internacional de Música de Santander Missatger Josep Fadó ORQUESTRA SIMFÒNICA I COR DEL GRAN TEATRE DEL LICEU Sacerdotessa Elena Copons Direcció del Cor José Luls Basso Assistent de la direcció musical Gueràssim Voronkov Assistents musicals Mark Hastings, Véronique Werkié, Conxita Garcia, Vanessa García, Jaume Tribó Concertino Kostadin BogdanoskI Sobretitulat Glòria Nogué Anabel Alenda POLIFÒNICA DE PUIG-REIG Direcció del cor Ramon Noguera Aida Aida (1871), obra de maduresa de Giuseppe Verdi, situa¬ El rei concedeix al guerrer la mà de la seva filla Amneris, da al món dels grans faraons a l'antic Egipte -escrita per davant el desesper dels dos enamorats. En una entrevista encàrrec del kediv d'aquest país i estrenada al Caire-, és secreta entre Aida i Kadamès, aquesta, pressionada pel probablement l'òpera més popular de la lírica italiana. La seu pare, aconsegueix que el guerrer li reveli -sense ser cèlebre rebuda triomfal dels guerrers al so de les trompetes conscient que els escolten- els plans militars egipcis. El del segon acte, «Gloria all'Egitto», o la conegudíssima ària complot, però, fracassa i Kadamès és jutjat i condemnat de tenor «Celeste Aida, forma divina» del primer acte són pels sacerdots, malgrat la intervenció d'Amneris, a ser referents inequívocs, per a bé i per a mal, del món l'òpera. enterrat viu. Aida aconsegueix introduir-se en la cam¬ Però malgrat el seu caràcter pròxim a la grawd opéra fran¬ bra mortuòria i els amants moren junts amb serenitat i cesa, amb escenes plenes de pompa i esplendor i gran des¬ fermesa. A més dels fragments musicals esmentats, són plegament orquestral i coral, el drama essencial -l'amor moments esplèndids, esperats pel públic, les àries d'Aida dels protagonistes sacrificat als interessos del poder- té «Kitorna vincitor!» i la nostàlgica «Oh patria mia, mai un tractament intimista refinat i els dos plans -individual piú, mai piú ti rivedròl», els duos d'amor entre els dos i col·lectiu- no s'integren sinó que se superposen en una protagonistes, les intervencions de la turmentada Amne¬ òpera brillant i emotiva alhora. ris o els cors sacerdotals. L'argument tracta dels tràgics amors del guerrer egipci Un dels grans atractius d'aquesta producció que el Kadamès i l'esclava etíop Aida, presonera al servei de la Liceu ha recuperat els darrers anys és l'escenografia de princesa egípcia Amneris, la qual estima també el gue¬ Josep Mestres Cabanes, estrenada el 1945, que l'escenògraf rrer. L'exèrcit etíop envaeix Egipte i el rei, seguint les considerava el model del seu concepte d'«angle mestre» ordres d'Isis formulades per la poderosa casta sacerdotal, en el seu Tratado de perspectiva publicat el 1964, d'un nomena Kadamès cap dels exèrcits. Aida és en realitat il·lusionisme gairebé màgic, obtingut mitjançant les tèc¬ del filla cabdill i rei etíop Amonasro, que es troba entre niques més depurades de la perspectiva, dels interiors de els presoners resultants de la gran victòria de Kadamès. temples i palaus i del paisatge egipci. «Si vas al pais de releriiitat, l'hi acompanyo. / l ine por que el meu espòs em mail. / lli hagué algú que fes alguna eosa semblant quan regnava? / He vingut per amor a tu. / Alliberes el meu cos del teu amor» Fragment d'un papir del Metropolitan Museum de Nova York Les chants d'amour de l'Égypte ancienne de Schott Resum argumentai Aida, òpera en quatre actes, obra de maduresa de Giu¬ seppe Verdi, s'estrenà el 24 de desembre de 1871 a rOpera del Caire. El compositor la va escriure per encଠrrec del kediv d'Egipte Ismail Paixà, un dels dirigents de l'Egipte modern, que havia inaugurat aquest teatre d'òpera el 1869 -any d'obertnra del canal de Suez- amb Rigoletto. Ea idea argumentai és de l'egiptòleg francès Auguste Mariette, transcrita per Camille du Eocle (llibretista de Don Carlosj,- el llibret italià defi¬ nitiu és obra d'Antonio Ghislanzoni. Malgrat el seu caràcterpròxim a la grand opéra francesa, amb esce¬ nes plenes de pompa i esplendor i gran desplegament orquestral i coral, el drama essencial -el sacrifici de l'amor dels protagonistes pels interessos del poder- té un refinat tractament intimista i els dos plans -indivi- ducd i col·lectiu- no s'integren sinó que se superposen en una òpera brillant i emotiva cdhora. Estrenada a Barcelona el 1876 al Teatre Principal, l'any següent fon portada alEiceu, on havia d'esdevenir el títol repre¬ sentat més vegades en la seva història. E'acció se situa a Memfis i a Tebes, a l'època dels grans faraons, a l'antic Egipte. Pàgina 13: Pàgina següent: Estàtua de Ramsès il a Luxor. Gran sala hipòstila de Karnak. Fotografia donada per Fotografia donada per Francisco Vargas Martínez. Francisco Vargas Martínez. Museu Egipci de Barcelona. Museu Egipci de Barcelona. 16 Resum argumenta! Act e I jove i valent guerrer Radamès que els etíops estan a AIpuntpalaud'envairreial, elEgiptesummei quesacerdotla deessaRamfisIsis haadverteixdesignat jaei el cap dels exèrcits que defensaran el país. Radamès resta sol i en la cèlebre ària «Ceieste Aida» ens comunica ei seu afany de glòria i l'amor que sent per Aida, esclava etíop al servei de la filla del rei, Amneris. Entra aquesta, enamorada al seu torn de Radamès, i intueix els sentiments que ei guerrer sent per l'esciava, però dissimula la gelosia i es mostra generosa amb Aida quan entra. Els tres personatges canten les seves preocupacions. El rei -voltat de guàrdies, ministres, sacerdots, etc.- anuncia la invasió i proclama Radamès cap de les forces egípcies. Un missatger anuncia que les tropes etíops, capita¬ nejades per Amonasro, avancen sobre Tebes. Aida ens revela que Amonasro és el seu pare I després d'un abrandat himne guerrer canta ia seva angoixa per l'amor inconciliable que sent per Radamès i per la seva pàtria. A l'interior del temple de Fthà tenen lloc les cerimònies pro¬ piciatòries perquè els déus ajudin els egipcis, amb la consa¬ gració de l'espasa i la investidura de Radamès en una brillant escena amb danses i cors. Quadre I A dalt: Fragment d'un baix relleu a Dendera. Fotografia donada per BÀSICS I CONTRAPOSATS, EL D'AIDA, DE DELICADA POLI¬ Francisco Vargas Martínez.
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