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O MITO DE ORFEO E a ÓPERA NO SÉCULO XVII Thiago

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O MITO DE ORFEO E a ÓPERA NO SÉCULO XVII Thiago Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália INSTITUTO POLITÉCNICO DO PORTO ESCOLA SUPERIOR DE MÚSICA, ARTES E ESPECTÁCULO MESTRADO EM MÚS ICA – INTERPRETAÇÃO ARTÍSTICA ÁREA DE ESPECIALIZAÇÃO EM MÚSICA ANTIGA THIAGO VAZ CRUVINEL O MITO DE ORFEO E A ÓPERA NO SÉCULO XVII Um estudo sobre o surgimento da ópera em Itália Dissertação para obtenção do grau de Mestre em Música - Interpretação Artística - Área de Especialização em Música Antiga Orientador: Pedro Alexandre Sousa e Silva PORTO 2016 1 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália Dedicatória 2 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália Para os meus pais, Clayton e Iara. 3 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália 4 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália Agradecimentos Ao meu orientador, Pedro Alexandre Sousa e Silva, por me conduzir nessa difícil tarefa de exprimir em palavras pensamentos e ideias. À Sara Dacal, Paula Callegari e Giulia Tettamanti, pela leitura cuidadosa e pelas preciosas considerações que tanto me ajudaram a melhorar a argumentação dessa dissertação. À Daniela Castro pelo incentivo e ajuda na reta final. À Catarina Costa e Silva e à Magna Ferreira por me terem sugerido esse objeto de estudo, alguns anos atrás, numa viagem de autocarro sentido Mafra - Porto. 5 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália 6 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália Resumo Durante o século XVII, em Itália, uma série de óperas foram escritas retratando o drama mitológico de Orfeu e Eurídice. O presente trabalho é uma investigação sobre a presença recorrente do mito de Orfeu nos libretos de ópera, especialmente durante as primeiras décadas do século XVII, e sobre a importância dessa história específica para o surgimento e consolidação da ópera como gênero. Essa dissertação divide-se em três grandes capítulos: 1. estudo do contexto histórico, social, político e artístico que culminou na criação da ópera; 2. análise de obras importantes para a história da ópera e que apresentam temática sobre o mito de Orfeu; 3. discussão sobre as questões interpretativas inerentes à preparação e execução de um recital com repertório sobre o tema selecionado. Palavras-chave Ópera antiga; Orfeu & Eurídice; música barroca; dramma per musica; prática interpretativa 7 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália 8 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália Abstract During the seventeenth century, in Italy, a great number of operas were written depicting the mythological drama of Orpheus and Eurydice. This work is an investigation of the recurring presence of the Orpheus myth in opera libretos, especially during the first decades of the seventeenth century, and the importance of that particular story to the emergence and consolidation of the opera as a genre. This Master thesis is divided into three main chapters: 1. study of the historical, social, political and artistic context that culminated in the creation of the opera; 2. analysis of important works in the history of opera that were written about the Orpheus myth; 3. discussion of the interpretative issues related to the preparation and execution of a recital with repertoire on the selected theme. Keywords Early opera; Orphean operas; early baroque music; dramma per musica ; historically informed performance 9 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália 10 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália Índice Introdução ............................................................................................................................ 13 Estado da Arte ..................................................................................................................... 16 Cap. 1 - O surgimento da ópera: contexto histórico ............................................................. 19 1.1 - O madrigal renascentista ......................................................................................... 19 1.2 - Uma arte de corte .................................................................................................... 23 1.3 - As Pastorais e os Intermedi ...................................................................................... 26 1.4 - As academias e a nova música florentina ................................................................ 30 1.5 - A ópera antiga .......................................................................................................... 35 1.6 - A questão do gênero ................................................................................................ 39 Cap. 2 - O mito de Orfeo na ópera ....................................................................................... 44 2.1 - Sinopse do mito ....................................................................................................... 45 2.2 - La favola di Orfeo no Renascimento ........................................................................ 46 2.3 - Euridice em Florença ............................................................................................... 49 2.4 - L'Orfeo em Mântua ................................................................................................... 52 2.5 - A ópera em Veneza e Orfeo ..................................................................................... 60 Cap. 3 - Uma proposta interpretativa ................................................................................... 64 3.1 - Repertório escolhido ................................................................................................ 64 3.2 - Questões interpretativas .......................................................................................... 67 3.2.1 - Instrumentação .................................................................................................. 67 3.2.2 - Encenação ......................................................................................................... 68 Conclusão ............................................................................................................................ 71 Referências Bibliográficas ................................................................................................... 72 11 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália Introdução Em 1598 foi encenada em Florença a primeira composição que classificamos hoje como ópera: Dafne , com música de Jacopo Peri, Jacopo Corsi e libreto de Ottavio Rinuccini. Após o sucesso de Dafne , O. Rinuccini decidiu escrever uma peça maior. Com o patrocínio de J. Corsi e música de J. Peri, Euridice foi apresentada à corte de Florença no ano de 1600, e representou um significativo avanço em relação ao trabalho anterior. O compositor Giulio Caccini também escreveu sua própria versão para o mesmo libreto, a sua Euridice foi na verdade, a primeira ópera a ser publicada na história, inclusive antes da obra de Peri, porém só foi representada em 1602. Já a partitura de Dafne jamais foi publicada e lamentavelmente apenas alguns excertos musicais chegaram aos dias de hoje. Alguns anos mais tarde, em 1607, sob forte influência da Euridice de Peri e Rinuccini, Claudio Monteverdi e Alessandro Striggio apresentaram em Mântua a ópera L'Orfeo. A maneira com que compositor e libretista conjugaram música e texto transformaram L'Orfeo em um marco no desenvolvimento de um dos gêneros dramático- musicais mais populares e prolíficos de todos os tempos. Dafne , assim como Euridice e L'Orfeo faziam parte de uma tradição de espetáculos criados nas cortes do norte da Itália, desde finais do século XV, na qual a música exercia um importante papel. O desafio a que se lançaram os artistas dessa época era combinar música, drama e espetáculo cénico de modo a aproximar os seus trabalhos da tragédia clássica grega. A busca constante pela forma ideal desse novo gênero levou libretistas, compositores e teóricos a experimentar diversas possibilidades. Além do ambiente sociopolítico e cultural em que estavam inseridos, esses primeiros experimentos também tinham em comum a temática utilizada para criar os seus enredos. Durante o século XVII, quando os libretos eram nutridos com histórias oriundas da mitologia clássica, foram escritas pelos menos 20 obras documentadas retratando o drama mitológico de Orfeu e Eurídice: - 1600 - Jacopo Peri: Euridice ; - 1602 - Giulio Caccini: Euridice ; - 1607 - Claudio Monteverdi: L'Orfeo ; - 1616 - Domenico Belli: Orfeo dolente ; - 1619 - Stefano Landi: La morte d'Orfeo ; - 1638 - Heinrich Schütz: Orpheus und Euridice ; - 1647 - Luigi Rossi: Orfeo ; 1654 – Carlo d'Aquino: Orfeo ; - 1659 - Johann Jakob Löwe von Eisenach: Orpheus von Thracien ; 13 Thiago Vaz Cruvinel O mito de Orfeo e a ópera no século XVII Um estudo sobre o surgimento da ópera em Itália - 1672 - Antonio Sartorio: Orfeo ; - 1673 - Matthew Locke: Orpheus and Euridice ; - 1676 - Giuseppe di Dia: Orfeo ; - 1677 - Francesco
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