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Gran Teatre Del Liceu GRAN TEATRE DEL LICEU Temporada 1986/87 CONSORCI DEL GRAN TEATRE DEL LICEU Generalitat de Catalunya Ajuntament de Barcelona Ministerio de Cultura Diputació de Barcelona i Societat del Gran Teatre del Liceu WERTHER Drama líric en 4 actes Llibret d'Édouard Blau, Paul Milliet 1 Georges Hartmann (segons l'obra de J.W. Goethe) CASA Música de Jules Massenet SMllA Buenas ideas en artículos para el hogar, la mujer y el recién nacido. Funció de Gala Dimarts, 2 de juny, a les 21 h., funció núm. 62, torn A . Dissabte, 6 de juny, a les 21 h., funció núm. 63, torn e EN BARCELONA DELEGACiÓN EN ZARAGOZA Dimecres, 10 de juny, a les 21 h., funció núm. 64, torn B GRAN VIA CORTS CATALANES, 640 Diumenge, 14 de juny, a les 17 h., funció núm. 65, torn T TELÉFONO 318 24 98 éJa5pe 08007 BARCELONA ZURITA, 8 TEL. (976) 23 74 54 WERTHER Decoracions Ferruccio Villagrossi (realitzades per La Bottega Veneziana) Vestuari Pier-Luciano Cavallotti (realitzat per Arrigo - Milà) Werther Alfredo Kraus Albert Vicenç Sardinero Le Bailli Alfonso Echeverría Schmidt Josep Ruiz Johann Jesús Castillón Brühlmann Gervasio Ventura Charlotte Renata Scotto Sophie M� Angeles Peters Kiithchen Lucila Dávila Director d'Orquestra Alain Guingal Direcció d'Escena Giuseppe de Tomasi Violins concertinos Jaume Francesch Josep M� Alpiste Cor de nois de l'Escola Pia Balmes Mestre Director: Antoni Coll i Cruells ORQUESTRA SIMFÒNICA DEL GRAN TEATRE DEL LICEU JOYEHO M. Pérez Cabrera, 4 Tel. 2013300 Barcelana-08021 ljunto Turó Park) ® Contingut argumental ACTE I Ens trobem a Wetzlar, als afores de Frankfurt; l'agutzil, un vidu i pare de llarga descendència, intenta per tots els mitjans d'ensenyar a la seva fillada una cançó de Nadal amb l'ajut d'una de les seves filles, Sophie; l'arribada de dos companys de tabola canvia per uns moments el to pintoresc de l'escena; podem, així, assabentar-nos que Charlotte ha estat convidada al ball que s'està preparant i que hi serà acompanyada pel jove Werther en defecte del seu promès, que és fora, de viatge. Un cop aquests han marxat, apareix Werther, precedit d'una remor musical feta d'arpes i violoncels, que proporcionen el to adequat al personatge melangiós que se sent enamorat de Charlotte i que veu en la natura el reflex del seu propi estat d'ànim, molt sensible a tot el que l'envolta; així, per exem­ ple, el tracte que Charlotte té amb els seus germans és un nou motiu d'exaltació del jove Werther, que acompanya Charlotte al ball confiant de gaudir de la seva companyia. Una vegada han sortit, arriba, quan encara no era esperat, Albert, el pro­ mès de Charlotte, que s'entreté amb Sophie parlant del seu amor per Charlotte i de les properes noces. Ha passat el temps i Charlotte i Werther retornen del ball; novament la pinzellada musical ens situa en el marc dellirisme; Charlotte descobreix que la dedicació als germans i la seva pro­ pera boda és fruit de la darrera voluntat de la mare morta; Werther, plenament enamorat de Charlotte, se sent estripar per dins en assabentar-se que mai no podrà esposar l'estimada. ACTE II L'escena ens mostra ara un episodi aparentment intranscen­ dent de diumenge al migdia; els dos amics de l'agutzil seuen a la taula de la taverna mentre de l'altra banda de la plaça, de dins de l'església estant, se sent la música que acompanya la cerimònia dominical; tots els bons burgesos van fent via per tal d'arribar a temps, entre ells la parella Charlotte-Albert, ara ja maridats i amb un posat que mostra llur felicitat pri­ merenca. En contrast amb la placidesa de l'escena, Werther, guaitant la parella de lluny, es desespera i corseca per la inca­ pacitat de significar quelcom en la vida de Charlotte . .. ® En acabar la cerimònia, Albert i Werther coincideixen; el pri­ mer, descobrint el caire desesperat del segon, mira d'ésser com­ prensiu oferint-li la més sincera amistat; Sophie, per la seva banda, convida Werther al ball, però el jove Werther no pensa en altra cosa que en l'amor de Charlotte. En efecte, quan retroba la noia, insisteix una i altra vegada a parlar-li mentre ella pretén que tots vagin a casa del pastor; Costura però Werther força tant la situació que, finalment, Charlotte acaba per mostrar-se convençudament enamorada del seu Boutique espòs; per tal de resoldre el drama de Werther, li recomana que es busqui alguna altra dona que el pugui fer feliç, cosa que no fa sinó augmentar el dolor del desesperat jove, que acaba per marxar del costat de Charlotte decidit a acabar amb la seva vida. ACTE III L'escena ens mostra ara l'interior de la casa de la parella Charlotte-Albert; en un clima casolà i intimista, la noia repassa les cartes que Werther li ha anat adreçant i en el seu cant se'ns mostra ambigua respecte als seus sentiments envers el tenaç enamorat, profundament emocionada pel doll d'amor que troba en les lletres. La seva germana Sophie apareix per a interrompre-la i per a aportar una nota de desimboltura i color a l'escena; tanmateix, Sophie descobreix quelcom d'estrany en el rostre de la seva germana i confessa que, d'ençà de la partida de Werther, a la casa passen coses molt sorprenents. De sobte, arriba Werther responent a una antiga invitació de la noia; ambdós es retroben en un moment emocionalment àlgid; ella, pel record de les cartes llegides fa uns instants; ell, per tot el que li recorda el mobiliari de la casa i la pròpia pre­ sència de Charlotte; això fa que es lliurin a un idil-li amorós que els llença l'un en braços de l'altre. Charlotte, tanmateix, sobreposant-se, demana a Werther que fugi i que no la torni a veure mai més. Werther se'n va, però arriba Albert i intueix la tensió haguda entre la seva dona i el seu amant. Per això, quan rep la nota de comiat de Werther, accedeix sense dubtes a complir la seva voluntat i lliura al missatger les pistoles que Werther li demana en el missatge. Charlotte, d'amagat d'Albert, cuita a arribar a casa de Werther abans que no suc­ ceeixi el que es tem. Casanova, 270 . 08021 Barcelona MARCAMOS .LA PAUTA ,- ACTEIV IB7SI I SECiUROS En un marc sonor apropiat al desenllaç del drama, Charlotte � Porque abriendo caminos arriba a casa de Werther i el troba malferit; la presència de creamos maestras en su la noia anima per uns instants el moribund, que encara té esma piezas género. de demanar perdó pel seu estrafolari comportament. Char­ I lotte decideix romandre en aquells darrers instants al costat de Werther i reconeix, ara ja a cor obert, el seu enamorament des del primer moment en què el va veure i la servitud de la promesa a la seva mare. A poc a poc, tot va renaixent, tant des del punt de vista musical (amb lleugeres referències a temes passats) com des del punt de vista temàtic; ara, però, ja és Porque siguiendo el ritmo de los tiempos un no evitar que, malgrat la cer­ sarcasme, perquè ningú pot descubrimos formas que cubren cualquier riesgo. tesa de l'amor de la parella, Werther acabi morint en braços de la seva estimada Charlotte. I I Porque nuestras ideas sirven para asegurar los pasos de todos. ( I I I Porque desde 1879 nuestro trabajo l es inspirar confianza y seguridad. � a-I�R 1B7!i SECURDS Creamos seguridad. Diagonal, 431 bis - 08036 Barcelona ([}rfgina(8a{iburger fJ1/òl!!Jat 8cfWlwf£ulèJSi/¡ueur ® Werther: Quelcom més que Manon El 1886, dos anys després de l'estrena de Manon, Jules Mas­ senet anà a Bayreuth per assistir a unes representacions del Parsifal, acompanyat per Georges Hartmann, que seria l'edi­ tor del seu Werther. Tots dos personatges aprofitaren l'avi­ nentesa per realitzar un viatge per algunes poblacions alema­ nyes, entre les quals figurà Wetzlar, on Goethe havia escrit Die Leiden des jungen Werthers. No fou pas fàcil per a Hart­ mann convèncer Massenet que abandonés el projecte de posar música a l'obra d'Henry Murger sobre la qual, anys després, Puccini basaria la seva Bohème. Malgrat que una Bohème de Massenet ens pugui semblar una possibilitat realment corpre­ nedora, la renúncia féu que no es repetís el cas de Manon i que fos possible per a Massenet l'oportunitat de donar vida en els escenaris operístics al Werther de Goethe. L'estrena no va poder fer-se, contra tota lògica, a París. L'Òpera Còmica havia sofert un incendi l'any 1887 i no era possible representar-la en aquell Teatre. Massenet l'oferí a Wil­ helm Jahn, director de l'Òpera de Viena, en la traducció a l'alemany feta per Max Kalbeck, el16 de febrer de 1892, amb Ernest van Dyck com a Werther (existeix un vell enregistra­ ment, del 1905, del «Pourquoi me réveiller» per aquest tenor). Marie Renard com a Charlotte, Forster com a Sophie i Franz Neidl com a Albert. La primera representació a França, des­ prés d'estrenar-se també a Ginebra, fou el16 de gener de 1895, a l'Òpera Còmica de París, amb Guillaume Ibas i Marie Delna. Werther suposa, probablement, el punt culminant de la pro­ ducció d'un músic nascut per al teatre, com fou Jules Masse­ net. Punt culminant i un xic aillat en la seva obra, la qual, per a un públic majoritàriament popular, potser tingui un punt més gran d'atracció en la molt difosa Manon, almenys fins fa pocs anys.
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