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La Bohème Puccini

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La Bohème Puccini LA BOHÈME PUCCINI 11 Fitxa 12 Repartiment Argument 17 Teresa Lloret 31 English Synopsis Sobre la producció 37 Jonathan Miller Bohèmia pucciniana nald Cooper. 39 Jaume Radigales La bohème: entre el positivisme i 49 l’idealisme romàntic Aina Vega Cronologia 62 Jordi Fernández M. Testimoni 75 Mirella Freni La bohème al Liceu 79 Jaume Tribó Selecció discogràfica 87 Javier Pérez Senz Bibliografia recomanada 90 Aleix Pratdepàdua de la producció de Jonathan Miller per a l’English National Opera. Foto: Do Biografies 94 Aina Vega La bohème Escena del segon quadre de LA BOHÈME Òpera en quatre quadres. Llibret de Giuseppe Giacosa i Luigi Illica, basat en Scènes de la vie de bohème d’Henri Murger. Estrenes 1 de febrer de 1896: Teatro Regio de Torí 10 d’abril de 1898: Gran Teatre del Liceu 19 de març de 2012: darrera representació al Liceu Total de representacions en la programació del Liceu: 257 06 /2016 Torn 07 /2016 Torn 18 20.00 h C 1 20.00 h E 19 18.00 h PD 2* 18.00 h F 20 20.00 h A 3 17.00 h T 21 20.00 h PC 6 20.00 h D 22 20.00 h PA 7 20.00 h PE 27 20.00 h H 8 20.00 h PB 28 20.00 h G 30 20.00 h B Durada aproximada: 2 h. i 20 min. (*): Amb audiodescripció liceubarcelona.cat 12 pàg. Repartiment 13 Temporada 2015/16 juny/juliol 2016 Direcció musical Marc Piollet M i m ì Tatiana Monogarova (18, 20, 22, 28 de juny, 1, 3 i 7 de juliol) Direcció d’escena i coreografia Jonathan Miller Eleonora Buratto (19, 21, 27, 30 de juny, 2, 6 i 8 de juliol) Directora de reposició Natascha Metherell Musetta Nathalie Manfrino (18, 20, 22, 28 de juny, 1, 3 i 7 de juliol) Olga Kulchynska (19, 21, 27, 30 de juny, 2, 6 i 8 de juliol) Escenografia i vestuari Isabella Bywater Rodolfo Matthew Polenzani (18, 20, 22, 28 de juny, 1, 3 i 7 de juliol) Il·luminació Jean Kalman Saimir Pirgu (19, 21, 27, 30 de juny, 2, 6 i 8 de juliol) Assistent de la direcció d’escena Albert Estany Marcello Artur Ruciński (18, 20, 22, 28 de juny, 1, 3 i 7 de juliol) A s s i s t e n t d ’ i l · l u m i n a c i ó Kevin Sleep Gabriel Bermúdez (19, 21, 27, 30 de juny, 2, 6 i 8 de juliol) Producció English National Opera, Cincinnati Opera Schaunard David Menéndez (18, 20, 22, 28 de juny, 1, 3 i 7 de juliol) Isaac Galán (19, 21, 27, 30 de juny, 2, 6 i 8 de juliol) Orquestra Simfònica i Cor del Gran Teatre del Liceu Direcció del Cor Conxita Garcia Colline Paul Gay (18, 20, 22, 28 de juny, 1, 3 i 7 de juliol) Fernando Radó (19, 21, 27, 30 de juny, 2, 6 i 8 de juliol) Cor Vivaldi-Petits Cantors de Catalunya Parpignol Josep Ll. Moreno (18, 19, 21, 22, 27, 30 de juny, 1, 3 i 6 de juliol) Direcció del Cor Infantil Òscar Boada José Luis Casanova (20, 28 de junny, 2 i 7 de juliol) Concertino Kai Gleusteen B e n o î t / A l c i n d o r o Fernando Latorre Assistents musicals Daniel Mestre, Véronique Werklé, Rodrigo de Vera, Vanessa García, Jaume Tribó Sergent Gabriel Diap (18, 21, 27, 30 de juny, 1, 3, 6 i 8 de juliol) Ignasi Gomar (19, 20, 22, 28 de juny, 2 i 7 de juliol) Sobretítols Glòria Nogué, Anabel Alenda 14 pàg. 15 Kate Valentine (Mimì) i Gwyn Hughes Jones (Rodolfo), al tercer quadre de La bohème a l’ENO. Foto: Donald Cooper. «Comèdia lírica» en quatre quadres de Giacomo Puccini, amb llibret de Giuseppe Giacosa i Luigi Illica basat en les Scènes de la vie de bohème, publicades en forma de fulletó (1845-1848) per Henri Murger i convertides el 1849 pel mateix Murger en una obra teatral que conegué un gran èxit. L’òpera, estrenada al Teatro Regio de Torí el 1896, arribà al Liceu el 1898, on s’ha representat fins avui 257 vegades. Sens dubte, és una de les obres més populars de Puccini i de tot el repertori italià; text i música –d’un gran lirisme melòdic i harmonia original i refinada– expliquen amb el sentimentalisme propi del melodrama italià la vida, els somnis, les alegries i les decep- cions d’uns joves artistes al París del segle XIX, amb un final tràgic. Obra mancada d’una veritable intriga, els amors de Rodolfo i Mimì són el fil conductor d’unes escenes en què la fragilitat de la felicitat és el tema fonamental. L’acció se situa vers el 1830. Teresa Lloret Filòloga Imatge del segon quadre de l’òpera pucciniana amb Gwyn Hughes Jones (Rodolfo) i Kate Valentine (Mimì). Foto: Donald Cooper. ARGUMENT Teresa Lloret Filòloga QUADRE I L’òpera comença a la mansarda on, amb un fred terrible, Marcello està pintant un paisatge sobre el Mar Roig i Rodolfo1 mira com fumegen les xemeneies de París 1 Un allegro vivace presenta el característic mentre la seva estufa resta apagada per manca de tema de La bohème i apareix el de Rodolfo, que queda presentat per unes notes que combustible; per això decideixen cremar un drama l’acompanyaran tota l’obra, seguit d’una que ha escrit Rodolfo2. Arriben els seus amics, primer melodia descendent. 3 el filòsof Colline , que se suma a les ironies sobre el 2 L’orquestra subratlla la vivacitat de la destí fugaç de la literatura de Rodolfo, i després el músic flamarada amb violins, arpa i flautes. Schaunard, aquest amb queviures i begudes, cigars i 3 Té també un tema musical menor. 4 llenya, resultat d’uns diners eventuals . Intenta explicar 4 Amb un nou tema orquestral que es refe- com se’ls ha guanyat, però els amics, fascinats per reix també a La bohème, però en moments l’abundància, no li fan cas i, finalment, decideix guardar d’alegria, vitalitat i despreocupació. el menjar i anar a sopar al Barri Llatí per celebrar la nit de Nadal, amb l’acord de tots. Es presenta Benoît, el propietari, a cobrar el lloguer. Tàcitament decideixen 5 5 Mentrestant, la música marca primer un saltar-se aquesta pretensió . El fan beure, li fan explicar fals terror i s’inicia després un andantino els seus somnis eròtics, fingeixen aleshores indignació amable per tranquil·litzar el vell. 18 pàg. Argument 19 Simon Butteriss (Benoît) i Angel Blue (Musetta) al segon quadre de la producció de Miller. Foto: Donald Cooper. 6 Torna la música falsament dramàtica. 7 Sorgeixen els temes de Rodolfo i La bohème. 8 Les frases banals contrasten amb l’enlluernament que marca l’orquestra amb l’entrada de Mimì, passatge simple i poètic acompanyat pels violins, que anticipen el tema de la protagonista, i les violes, en un per la immoralitat d’aquest home casat6 i aconse- total canvi de registre en relació amb l’aire festiu i paròdic precedent. Un segon tema gueixen fer-lo fora. Tots surten a celebrar el Nadal al de Mimì, que marca la seva malaltia, es fa Café Momus, menys Rodolfo, que ha d’acabar un article7. evident quan la noia té un esvaniment per Truca a la porta una jove veïna, que sembla malalta o l’esforç de pujar les escales. extenuada, per demanar-li mistos. És Mimì, que es 9 Comença Rodolfo amb una introducció desmaia8. Rodolfo resta sorprès per la seva bellesa, li –«Che gelida manina»–, seguida d’un frag- ment quasi dialogat –«Chi son? Sono un ofereix vi, i quan Mimì ja se’n va, la seva espelma s’apaga poeta»– i l’ària pròpiament dita –«In povertà i, a més, no troba la seva clau. Tots dos la busquen a mia lieta»– amb violins en sordina i arpa i les fosques, perquè l’espelma de Rodolfo també s’ha el nou tema de l’amor de Rodolfo, ària que acaba amb un Mi bemoll agut. La famosa apagat. El poeta fingeix que no la troba i, finalment, són ària de la noia –«Mi chiamano Mimì»–, que les seves mans les que es troben. L’atracció és instan- aporta diversos temes propis de Mimì, agafa tània i els dos joves s’expliquen l’un a l’altre la seva iden- un clima sonor més misteriós i subtil, de gran intensitat lírica però amarat de malenconia. titat –poeta ell i brodadora ella– en dues àries –entre les més famoses de l’òpera italiana– en què mostren la 10 El diàleg dels enamorats s’articula en una 9 mena de duo que reprèn els temes de les àries seva bondat i idealisme . Els amics criden Rodolfo des que acaben de cantar, amb un vibrant uníson. del carrer i Mimì li proposa d’acompanyar-lo10. 20 pàg. Argument 21 Escena coral del segon quadre al Café Momus, on transcorre la major part de l’acció –Foto: Donald Cooper. 15 Mentrestant sentim una variant del tema, QUADRE II Musetta 2, associada a l’amor de Marcello i ella. 16 Musetta canta ara la seva famosa ària A la terrassa del Café Momus, plena de gent, es desen- plena de paquets de regals15. Marcello fingeix ignorar amb ritme de vals –«Quando me’n vo’ volupa una escena de gran vivacitat i animació, una Musetta i explica a Mimì com és de frívola i lleugera soletta per la via»– d’aire indolent, desti- nada a engelosir Marcello, acompanyada mena de fresc del Barri Llatí, amb gran nombre de la seva amiga, mentre tots parlen i demanen menjar i per les flautes i clarinets.
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