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Gran Teatre Del Liceu GRAN TEATRE DEL LICEU Temporada 1986/87 a hn, CO,NSORCI DEL GRAN TEATRE DEL LICEU Generalitat de Catalunya Ajuntament de Barcelona Ministerio de Cultura Diputació de Barcelona i Societat del Gran Teatre del Liceu IMBA BEATRICE DI TENDA Tragèdia lírica en 2 actes Llibret de Felice Romani Música de Vincenzo Bellini ·CASA «Edició revisada per Armando Gatto - Propietat de G. Ricordi & C.» SMIIA Buenas ideas • en artículos para el hogar, la mujer y el recién nacido. Funció de Gala 20 Divendres, de març, a les 21 h., funció núm. 46, torn B ., 22 de a EN BARCELONA DELEGACiÓN EN ZARAGOZA Diumenge, març, les 17 h., funció núm. 47, torn T 24 de a 21 GRAN VIA CORTS CATALANES. 640 D�marts, març, les h., funció núm. 48, torn A 27 de TELÉFONO 318 24 98 d°6pe DIVendres, març, a les 21 h., funció núm. 49, torn e 74 54 08007 BARCELONA ZURITA. 8 TEL. (976) 23 BEATRICE DI TENDA Decoracions: Ferruccio Villagrossi, realitzades per Sormani (Milà) Vestuari: Atrezzo: Arrigo (Milà) Rancati - Cornaredo (Milà) Filippo Maria Visconti Lorenzo Saccomani Beatrice di Tenda Cecilia Gasdia Agnese del Maino Raquel Pierotti Orombello Vincenzo La Scola Anichino Antoni Lluch Rizzardo del Maino Stefano Palatchi Director d'Orquestra Armando Gatto Director d'Escena Giuseppe de Tomasi Directors del Cor Romano Gandolfi Vittorio Sicuri Mestre adjunt del Cor Miquel Ortega Violins concertinos Jaume Francesch Josep M� Alpiste ORQUESTRA SIMFÒNICA I COR DEL GRAN TEATRE DEL LICEU JOYEHO Contingut argumental Lloc de l'acció: Castell de Binasco Època: any 1418 Advertiment de l'autor del llibret: «Beatrice de' Lascari, comtessa de Tenda, vídua de Facino Cane, que fou tutor deIs fills de Giovanni Galeazzo Visconti, primer duc de Milà, convençuda per l'ambició o bé per l'amor, es casà amb Filippo Maria [Visconti], el qual no conservava més que una part petita dels estats paterns. Beatrice portà com a dot, no sols l'heretatge dels seus avantpassats, sinó també totes les ciutats i els castells dels quals Facino s'havia fet senyor. Aquest matrimoni posà els fonaments de la grandesa de Filippo, el qual regnà sol sobre tota la Llombardia i una part del Piemont, però esdevingué funest per a Beatrice, puix que ja d'edat avançada, d'ànim generós i recordant el seu poder, havia arribat a odiar Filippo, jove dissolut, simulador, ambiciós i intolerant dels bene­ ficis rebuts. Enamorat Filippo d'Agnese del Maino, una de les dames d'honor de Beatrice, maquinà amb el germà d'aquesta dama la ruïna de l'esposa, tot servint de pre­ text les murmuracions dels antics vassalls de Facino, que toleraven malament la dominació de Filippo i la sub­ jecció servil en la qual tenia Beatrice; hi afegiren pes les amenaces justes però molt abundants d'aquesta i l'amis­ tat que la lligava a un jove parent seu, Orombello de Ventimiglia, el qual alleugeria les penes amb la pietat i amb la música. Aleshores fou acusada de conjuració i d'adulteri, exposada als turments juntament amb Orombello (el qual, en no suportar el dolor, confessà el delicte no comès) i ràpidament condemnada i decapi­ tada a Binasco. Sobre aquesta història, que es pot llegir en Biglia, Redu­ sio i Ripamonte, i també en alguns altres escriptors d'aquells temps i .dels nostres, es funda el fragment del present melodramma. Dic fragment, perquè circumstàn­ cies inevitables han canviat la disposició, els colors, els caràcters, per això 'cal tota la indulgència dels lectors.» Felice Romani (1788-1865) ACTE I I. En un interior del Castell de Binasco. El duc QUADRE pati ��7'�e Filippo vol allunyar-se de la festa que presideix la seva esposa Beatrice, a la qual només l'uneixen les conveniències d'un matrimoni polític. Els cortesans fan costat a Filippo en el seu desig de trencar el vincle amb Beatrice i també li fan la insi­ Costura nuació d'una possible rebel-lía per part dels seguidors de la seva esposa. Poc després, l'atenció amb la qual el Duc segueix Boutique el cant d' Agnese del Maino (<<Ah! non pensar che pieno sia»), demostra que Filippo està enamorat de la jove dama de com- . panyia de la Duquessa, que fa les seves reflexions sobre la rela­ ció poder-felicitat-amor. Filippo, lògicament, creu veure re­ flectits els seus problemes, però fineix fent palès el seu amor per Agnese (<<Corne t'adoro»), amb l'aprovació dels cor­ tesans. QUADRE II. En la residència d'Agnese, aquesta espera Orombello, Senyor de Ventimiglia, al qual ha enviat una carta anònima. En el joc dels amors no corresposts, Agnese el sent per Orombello i aquest per Beatrice, de la qual creu haver rebut la missiva. Quan arriba, se sorprèn de trobar Agnese, que li manifesta el seu amor, però fent-ho amb una referència que fa que Orombello cregui que es tracta de Beatrice, amb la qual cosa descobreix els seus sentiments. Agnese, engelosida i amb despit, veu com Orombello li prega que respecti l'honor de Beatrice. QUADRE III. En els jardins del Palau del Duc. Beatrice, amb les seves dames, es plany de la poca atenció i també de la ingra­ titud del seu espòs, que així mateix ha esdevingut un tirà per als súbdits de Beatrice (ecMa la sola, ohimè! son io»). Abans d'eixir, Beatrice rep el consol de les seves dames. A continua­ ció entra Filippo, acompanyat pel seu confident Rizzardo, germà d'Agnese i calumniador de Beatrice tot fent creure al Duc que li és infidel. Filippo, content de trobar finalment un motiu per poder-se separar de Beatrice i furiós per creure's un marit ultratjat, té una confrontació perllongada amb la seva esposa, en la qual el Duc insulta, crida, amenaça i fa a Bea­ trice retrets ben greus quant a la seva fidelitat conjugal i també política. Beatrice nega totes les acusacions, plora i prega que es respecti el seu honor (cse amar non puoi, rispettami»), sense 270 . 08021 Barcelona aconseguir convèncer el seu espòs. Casanova, MARCAMOS LA PAUTA - QUADRE IV. En un racó del Castell de Binasco, on es troba 1879 una estàtua de Facino Cane, l'espòs anterior de Beatrice, uns seCUROS fan sobre el reservat del Duc. soldats comentaris posat Quan Porque abriendo caminos arriba Beatrice, tota sola, s'agenolla davant el monument del creamos maestras en su seu primer espòs, tot demanant perdó per haver cedit als desigs piezas género. de Filippo (<<Deh! se mi amasti un giorno»). La Duquessa es I creu abandonada per tothom, però Orombello entra i li diu que no és així. Ell ha reunit els fidels a Beatrice i tots estan disposats a la lluita si Beatrice ho decideix, però aquesta hau­ ria preferit que, això, li ho demanés una altra persona, per­ .- què d'aquesta manera creixeran les sospites sobre una relació amorosa no existeix. Beatrice descobreix l'amor el ritmo de los que Quan , Porque siguiendo tiempos vol immediatament i en el d'Orombello, que aquest s'allunyi descubrimos formas que cubren cualquier riesgo. moment en què Orombello s'agenolla, tot demanant perdó, arriba Filippo, atret per Agnese. El Duc, creient veure confir­ mades les seves sospites, ordena l'empresonament de Beatrice i Orombello, mentre aquest proclama la innocència de la Duquessa. ACTE II , Porque nuestras ideas sirven QUADRE 1. Una galeria del Castell, on tindrà lloc el judici para asegurar los pasos de todos. de Beatrice i Orombello. Uns cavallers de la Cort anuncien que la tortura ha aconseguit d'Orombelio la confessió falsa de la complicitat de Beatrice. El Duc vol la condemna de la seva esposa, tot i que Anichino el prevé de la possibilitat d'una rebel-lió quan els partidaris de Beatrice coneguin la notícia, Filippo creu, però, que els «motius» que han portat Beatrice al judici seran suficients per convèncer tothom. El judici desde 1879 nuestro comença, amb un tribunal presidit per Rizzardo, el germà Porque trabajo d' Agnese. Filippo renova l'acusació i Beatrice acusa els seus es inspirar confianza y seguridad. acusadors. El tribunal fa entrar Orombello, al qual Beatrice retreu la seva confessió, una confessió que, diu el Senyor de Ventimiglia, li ha estat arrencada amb la tortura. Davant d'això, Filippo demana la suspensió del judici, però el tribu­ nal ordena nous turments per als acusats, amb el fi d'aconse­ guir una nova confessió. Quan surten tots, Agnese, que ja sent remordiments per la seva acció, demana a Filippo pietat per als acusats, però el Duc es mostra inflexible. Anichino informa al duc que Beatrice ha resistit la tortura, però el tribunal, mal­ grat tot, ha signat ja la sentència de mort. Només manca l'aprovació de Filippo i aquest dubta i sembla que l'assaltin els remordiments (<<Qui m'accolse oppresso»), però quan sent Creamos seguridad. Diagonal, 431 bis - 08036 Barcelona I el soroll de la rebel-lió dels partidaris de Beatrice i Facino Cane, signa ràpidament la sentència condemnatòria. E§filnO(h� QUADRE II. Sala que porta a la Presó del Castell. Les dames han deixat Beatrice, que prega en silenci. Quan surt de la tàvega, vestida senzillament, amb els cabells esbandits i cami­ (�nt illil (ilrfil. nant lentament, Beatrice es mostra amb serenitat i coratge, tot demanant el càstig diví per a Filippo i per als seus còmpli­ ces. Quan sent això, Agnese es precipita als peus de Beatrice, confessa la seva maquinació i li demana perdó. La Duquessa no vol donar-lo, però finalment hi consent quan sent la veu d'Orombello (xAngiol di pace»), que desitja ser capaç de per­ donar. Beatrice diu que si se li concedeix una tomba (ccAh! se un'urna è a me concessa»), aquesta tingui sempre unes flors i que al damunt s'hi pregui per Filippo, més que per ella mateixa.
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