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BBLDP001 Inner Pages CDS7876 (DDD) Erich Wolfgang Korngold (Brno, 1897 – Los Angeles, 1957) VIOLANTA Opera in one act - Libretto by Hans Müller Original version sung in German - Edition: Schott Musik FIRST ITALIAN PERFORMANCE Violanta Annemarie Kremer Simone Trovai Michael Kupfer-Radecky Alfonso Norman Reinhardt Giovanni Bracca Peter Sonn Bice Soula Parassidis Barbara Anna Maria Chiuri Matteo Joan Folqué First Soldier Cristiano Olivieri Second Soldier Gabriel Alexander Wernick First Maid Eugenia Braynova Second Maid Claudia De Pian Conductor: Pinchas Steinberg Chorus Master: Andrea Secchi Orchestra and Chorus Teatro Regio Torino New staging Teatro Regio Torino Recording, Editing and Post-production: Rino Trasi Recorded at: Teatro Regio Torino, 21st and 23rd January 2020 SUNG IN GERMAN TRACKLIST 01 Vorspiel (Orchestra) 05:22 02 Unsere Barke blüht schon (Chorus; First Maid; Second Maid; First Soldier; Second Soldier) 02:54 03 He, was machst du? (Matteo; Second Soldier; First Soldier; Bice; First Maid; Barbara; Chorus) 05:20 04 Schweigt still! Wie oft hab ichs gesagt (Simone; Second Soldier; Barbara; Matteo; Bice) 02:46 05 Ich hol dich. Komm! (Giovanni; Simone) 01:50 06 Sie hasst ihn! (Simone; Giovanni) 03:13 07 Wein! Blumen! Lichter! Geigenhauch… (Giovanni; Violanta; Simone) 02:05 08 Violanta? (Simone; Violanta) 03:21 09 Aus den Gräbern... (Violanta; Chorus; Simone) 02:07 10 Dann hör ich durch Nacht und Stille (Violanta; Simone) 01:45 11 Violanta! - Ja, du wirst ihn töten (Simone; Violanta) 02:18 12 Ja, du wirst ihn töten! (Violanta; Simone) 01:25 13 Dicht Aug in Aug (Violanta; Simone) 01:40 14 Barbara! Bring Lichter! (Violanta; Barbara) 03:07 15 Wie ging das Märchen, Barbara (Violanta; Barbara) 02:40 16 Interludio (Orchestra) 02:28 17 Der Sommer will sich neigen... (Alfonso; Violanta) 03:11 18 Wie schön seid Ihr (Alfonso; Violanta) 03:31 19 Noch nicht das Lied! (Violanta; Alfonso) 03:50 20 Sterben wollt ich oft (Alfonso) 05:15 21 Mona Violanta...? (Alfonso; Violanta) 05:08 22 Nie hab ich gelebt im Augenblick (Violanta; Alfonso) 03:42 23 Reine Liebe, die ich suchte (Alfonso; Violanta ) 03:09 24 Violanta! (Simone; Violanta; Alfonso) 02:28 25 Du riefst, hier bin ich (Simone; Violanta; Alfonso) 02:09 26 Still... mich tragen Wogen silberrein! (Violanta; Giovanni; Simone) 02:28 TOTAL RUNNING TIME 79:28 Le dirò con due parole… della testimonianza letteraria di Musil e Kraus, a cura di Donatella Meneghini di George e Rilke, di Schnitzler e di Hofmannsthal; dell’architettura di Otto Per il pubblico italiano habitué dei teatri d’o - Wagner; del contrasto tra la grazia dello pera non si può certo affermare che il titolo Jugendstil e L’urlo espressionista di Munch. Violanta sia familiare, così come il suo compo - In ambito musicale, inoltre, la capitale austria - sitore, Erich Wolfgang Korngold. Eppure, la ca era il luogo di approdo di quel linguaggio prima rappresentazione dell’opera, avvenuta che, provenendo dalla grande tradizione clas - allo Hoftheater di Monaco il 28 marzo 1916, fu sica della prima Scuola di Vienna, poi di accolta con grande successo di pubblico e di Brahms, Mahler, Strauss, Zemlinsky, era giun - critica, confermando il diciottenne composito - to attraverso una graduale trasformazione a re austriaco un vero enfant prodige . Il titolo sfaldarsi con Schönberg, epicentro di un radi - peraltro era abbinato a un altro atto unico, – cale rinnovamento; al contempo, nell’ambito Der Ring des Polykrates , terminato da della critica musicale il padre di Korngold, Korngold un paio d’anni prima – non solo a Julius, aveva sostenuto il giovane Mahler in Monaco ma anche nella successiva rappre - tempi non sospetti e costituiva uno dei massi - sentazione viennese del 10 aprile 1916 . A diri - mi esponenti dell’epoca, tanto da essere con - gere la prima fu Bruno Walter, che di quel tea - siderato l’erede del celebre Hanslick. tro era direttore musicale, già assistente e col - Allievo di Zemlinsky ed elogiato da Mahler per le laboratore di Mahler ad Amburgo e a Vienna. sue qualità, Erich si formò in questo crogiuolo di Una città, quest’ultima, che a cavallo tra Otto correnti artistiche, recependo stimoli di diversa e Novecento rappresentava un luogo di con - provenienza; riversati in toto in Violanta , fanno di trasti: vi convivevano nostalgia del passato e quest’opera una sorta di “piccola Vienna”. tendenze innovative, immobilismo ed energia Impreziosita da combinazioni strumentali che creatrice. Incapace di aprire gli occhi su una denotano una precoce raffinatezza nell’orche - crisi che avrebbe portato al suo imminente strazione e da effetti timbrici Jugendstil , compli - disfacimento politico (la Grande Guerra era ce l’utilizzo di arpe, celesta, pianoforte, mandoli - alle porte), la classe aristocratica viennese, no e Glockenspiel, per quanto riguarda il lin - cieca e sorda (volutamente o no) nei confronti guaggio musicale quest’opera è teatro di incon - di un intenso fermento culturale, si nasconde - tri e di contrasti stilistici. Se il tentativo di va dietro una facciata spensierata, cercando Korngold di modernizzarlo perviene a soluzio - nella musica da ballo, nei caffè-concerto e ni armoniche “allargate” – anche attraverso nelle operette occasioni di evasione. Siamo l’utilizzo di cromatismi e scale esatonali – que - nella stessa Vienna della psicanalisi freudia - ste sono comunque sempre funzionali alla na, della Secessione, di Klimt, di Schiele; drammaturgia dell’opera e mai protese verso 5 l’abbandono della tonalità. L’opera è impre - cologico della protagonista senza divagazioni di gnata di romanticismo tedesco intensificato sorta. Mossa da un sanguigno desiderio di ven - da un’ampiezza di respiro tipica di tante frasi detta nei confronti di chi aveva sedotto e spinto wagneriane, mahleriane o dello Strauss sinfo - al suicidio la sorella, Violanta coinvolge il marito nista, anche se vi sentiamo echi del mondo Simone inducendolo all’omicidio. Ma dopo aver dell’operetta e della leggerezza musicale conosciuto e sedotto la propria vittima – degli Strauss padre e figlio. Non solo: l’accor - Alfonso, figlio illegittimo del re di Napoli – l’odio do che apre l’opera, nel Preludio, subito di Violanta si trasforma in passione, capovolgen - seguito da scale e arpeggi dal timbro cristalli - do il suo ruolo. Una passione tale da indurla ad no, raccoglie su di sé sapori debussyani, ma assorbire il colpo inferto dal marito, pur di salva - insieme anche di Schönberg e Bartók, avvol - re Alfonso. gendo lo spettatore in una cupa atmosfera da Con altre opere sue contemporanee, fra le altre Il castello del duca Barbablù ; bastano però Eine florentinische Tragödie di Zemlinsky, poche battute perché il discorso musicale si Violanta condivide la particolare ambientazione espanda in un’ampia frase di intensa cantabi - nell’Italia del XV secolo – nello specifico Venezia lità che oggi riconosciamo come un’anticipa - – nella descrizione per alcuni aspetti approssi - zione di quelle colonne sonore hollywoodiane mativa di Hans Müller (1882-1950), autore del che dagli anni Trenta resero celebre il compo - libretto. La vicenda passionale si svolge in ambi - sitore e gli valsero ben due Oscar. to carnevalesco, nella casa del capitano Simone Pare ovvio dunque che il successo della Trovai, sul canale della Giudecca; il canto corale musica di Korngold stia proprio nell’aver delle maschere – «Fuor da tombe anco i morti / saputo creare un linguaggio “ad ampio spet - danzan oggi a braccetto, / son banditi gli scon - tro”, ossia in grado di colpire il gusto e la sen - forti, / il piacer s’allegra eletto» –, fungendo da sibilità di un pubblico molto vasto – e forse in Leitmotiv nel corso dell’opera, se da un lato questa ecletticità sta anche il limite: quello di alleggerisce la drammaticità della vicenda, dal - non aver saputo caratterizzarsi in un idioma l’altro si pone come un ostinato che sottolinea il dalla forte personalità. crescendo della tensione emotiva. La struttura in un atto unico, al pari di tanta let - A un primissimo approccio Violanta può sem - teratura operistica concepita in quegli anni, in brare un dramma passionale di stampo verista, area germanica ma non solo – da Salome ma in realtà alcuni elementi lo allontanano da (1905) ed Elektra (1909) di Strauss a Erwartung questa connotazione: dal punto di vista musica - (1909) di Schönberg, fino al già citato Castello le abbiamo già accennato alla propensione di del duca Barbablù (1911) –, non impedisce all’a - Korngold verso certe raffinatezze timbriche e zione di svilupparsi appieno e, anzi, permette la verso sonorità cupe tipicamente espressioniste focalizzazione dell’attenzione sul trapasso psi - e decadenti; ricordiamo anche l’ampiezza delle 6 linee melodiche dal carattere lirico e slanciato Trama che si stagliano su un tessuto orchestrale Venezia è in festa per il Carnevale. In casa del denso, anche grazie all’abbondante utilizzo di Capitano Simone Trovai, ancelle e soldati si Leitmotive . Dal punto di vista drammaturgico e accalcano alle finestre per vedere il passag - psicologico, se da un lato l’idea della ricongiun - gio delle fiaccolate dei festanti, scandito dal zione amorosa “nella” e “attraverso” la morte canto «Fuori dalle tombe, persino i morti oggi può sembrare debitrice del Tristan und Isolde danzano stretti in un abbraccio…». I soldati si wagneriano («Nelle braccia tue / desir e morte»), prendono gioco del giovane Matteo, innamo - in realtà sono i concetti di femme fatale (tipica rato della moglie di Simone, Mona Violanta. figura del Decadentismo) e di redenzione a L’allegria generale è bruscamente interrotta essere messi in gioco, nuovamente attraverso il dall’arrivo del padrone di casa. Uomo rigoro - contrasto e la sintesi: nel corso delle sette scene so, Simone impone il silenzio, ricordando ai in cui è divisa l’opera, che sfociano l’una nell’al - presenti che non tollera la canzone di tra, Violanta, spinta dall’odio, avvicina Alfonso Carnevale nella sua casa. Poi chiede se qual - attraverso l’arte della seduzione («E m’insinuai cuno ha visto Violanta, e alla risposta negativa fin al suo cospetto.
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