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The Perfect American Según Philip Glass

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The Perfect American Según Philip Glass brioclasica.es TheThe PerfectPerfect AmericanAmerican El estreno mundial de una ópera puede ser algo WaltWalt intrascendente (véase Faust-Ball), o puede ser un momento especial, casi segúnsegún PhilipPhilip GlassGlass mágico. ¿Qué elemento marca la diferencia entre ambas situaciones? Sin duda, la calidad y peso específico del autor. The Perfect American Philip Glass (1937) Teatro Real, ópera en dos actos Libreto de Rudy Wurlitzer D. musical: Dennis Russell Davies D. escena: Phelim McDermott Purves, Pittsinger, Kaasch, Kelly, McLaughlin, Tynan, Fikret, Lomas, James, Easterlin, Noval-Moro, Gálvez, Buñuel. brioclasica.es Quien conozca la obra de Glass sabe que su lenguaje musical no es un lenguaje operístico tradicional. Está lleno de pe- culiaridades minimalistas que hacen que su música sea incon- fundible en su particularidad. Pero en el Perfecto americano descubrimos un Philip Glass dis- l estreno mundial de una ópera tinto, que se encuentra en un mo- Epuede ser algo intrascendente mento creativo extraordinario. (véase Faust-Ball), o puede ser un momento especial, casi mágico. Tras una madurada evolución, ha ¿Qué elemento marca la diferen- creado una línea musical dotada cia entre ambas situaciones? Sin de una coherencia insólita. La ca- duda, la calidad y peso específico dencia de la música resulta irre- del autor. sistible desde los primeros acor- des. De un modo casi hipnótico, Philip Glass es el elemento el ritmo virtuoso marcado princi- imprescindible capaz de cumplir palmente por la percusión, traza las expectativas generadas ante un camino imposible de abando- un acontecimiento de estas nar hasta el final de la obra. Bajo características. Pero con una la influencia de Brukner, elabora partitura muy superior al libreto, largos fragmentos que se repiten. tal vez decepcione un poco la Notas aparentemente ocultas benevolencia con la que al final que Glass situa en primer plano se trata al personaje de Disney, y transforma en el tema principal. dadas las expectativas iniciales. La novela en la que se basa la Su amplio sentido del tiempo, obra, Der König von Amerika, de casi quietud, evocador de la Peter Stephan Jungk, es mucho música de Ravi Shankar, se Christopher Purves, más despiadada que el resulta- combina magistralmente con como Walt Disney do final de The Perfect American. los súbitos cambios de ritmo. y Donald Kaasch, como Dantine UNA ESCENOGRAFÍA SENCILLA Y BRILANTE La propuesta del director de es- Las imágenes cena Phelim McDermott parte de un reto inicial, crear una puesta de sencillos en escena sobre Walt Disney sin dibujos en utilizar ninguno de sus famosos dibujos. No hay que olvidar que desarrollo, Disney es, ante todo, una de las creando figuras y principales marcas del mundo, derechos incluidos. complementando Esto ha permitido dar un mayor espacios, plantean margen de creatividad y frescu“- ra. Para ello, ha construido un una de las espacio escénico onírico, que primeras asemeja un antiguo estudio de cine con un cierto aire deca- reflexiones de la dente, casi melancólico, donde obra, el proceso utiliza las proyecciones como principal hilo descriptor de las artístico-creativo. “ capas o cuadros que diferencian El verdadero las distintas escenas, creando un espacio entre la realidad y los protagonista por sueños. encima de la Las imágenes de sencillos dibu- obra final y la jos en desarrollo, creando figu- representación ras y complementando espacios, plantean una de las primeras re- de éste como flexiones de la obra, el proceso una cadena de artístico-creativo. El verdadero protagonista por encima de la producción. obra final y la representación de éste como una cadena de pro- brioclasica.es ducción. Pulsar imagen brioclasica.es La obra no trata sobre la vida ninguno de sus personajes, y nario a Christopher Purves, dibujante desafiante y protestón de Disney, se ocupa de momen- este conflicto tienen una gran muy reconocido por el público. que se enfrentó a los hermanos to puntuales, principalmente presencia en la obra a través Es un Disney bien caracteriza- Disney en un plano de equilibrio sus últimos meses de vida. La del trato con uno de sus dibu- do y transmitiendo vocalmente e igualdad. relación con su hermano Roy, jantes. la potencia y personalidad del con el resto de su familia. Sus personaje. La misma contun- Wall Disney mandó construir un temores ante la cercanía de la El cuadro de cantantes es en dencia vocal que demostró Da- autómata de Abraham Lincoln muerte y el deseo de querer vi- esta ocasión de un notable vid Pttsinger, como Roy Disney. que aparece en la obra y que es vir eternamente. equilibrio. El libreto no es ex- Ambos cantantes empastaron utilizado para descubrir la per- tenso y tampoco es grande la perfectamente en los duos. sonalidad más oscura del prota- Se plantea también el siempre dificultad de los distintos per- gonista. Un impresionante (por delicado dilema de la propie- sonajes. Pero esto no impide Donald Kaasch, otro gran co- su envergadura) Zachary Ja- dad intelectual. Disney no creó realizar un trabajo extraordi- nocido en este teatro, creó un mes, da vida al autóata Lincoln. brioclasica.es John Easterlin interpretando a Andy Warhol Otra de las figuras que aparece de arena en la cada vez ma- relacionada con el protagonis- yor profesionalidad y calidad Pulsar imagen ta es Andy Warhol, representa- de la Sinfónica de Madrid. Los do por el tenor John Easterlin, sonidos de la percusión son los muy conocido y reconocido por principales responsables de la el público madrileño y maestro personalidad de esta obra. en dotar a sus personajes de un histrionismo necesario para re- Es importante dejar constancia dondearlos. de algunos detalles. La casi unánime opinión favorable por Resaltar en esta ocasión, y ya parte de un público que aplau- son muchas, la actuación del dió sobradamente, y la abun- coro. Un empaste perfecto dancia de público joven en el para unas bellísimas particelle patio de butacas. Este extremo, elaboradas por Glass que son, junto con la repercusión inter- junto con un par de solos de nacional que ha tenido este chelo, las notas más hermosas estreno mundial, satisfacen dos de esta nueva obra tan llena de las razones por las que Ge- de delicadeza y momentos ín- rard Mortier fue contratado timos. por el Teatro Real: atraer nue- vos públicos y situar al teatro “ El director musical Dennis Rus- en el panorama internacional. sell Davies demuestra su perfec- to conocimiento del autor y de Resaltar en esta ocasión, y ya son muchas, su obra. Extrae de la Orquesta Texto: Paloma Sanz un sonido delicado, nítido y lle- Fotografías: Javier del Real la actuación del coro. Un empaste perfecto no de frescura y pone su grano Vídeos: Teatro Real para unas bellísimas particelle elaboradas por Glass que son, junto con un par de solos de chelo, las notas más hermosas de esta nueva obra tan llena de delicadeza y brioclasica.es “momentos íntimos..
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