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Celebramos El Día De Las Bibliotecas Y El Día Mundial De La Ópera En SIMURG

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Celebramos El Día De Las Bibliotecas Y El Día Mundial De La Ópera En SIMURG Biblioteca Virtual Catálogos DIGITAL.CSIC Simurg GesBIB Intranet La Red Recursos de información Apoyo a la investigación Servicios Preguntas frecuentes Spanish Inglés Inicio » Celebramos el Día de las Bibliotecas y el Día Mundial de la Ópera en SIMURG Celebramos el Día de las Bibliotecas y el Día Mundial de la Ópera en SIMURG La Red de Bibliotecas y Archivos del CSIC se une a la celebración del Día de las Bibliotecas (24 de octubre) y el Día Mundial de la Ópera (25 de octubre) del año 2020 con la difusión de la reciente incorporación en Simurg, fondos digitalizados del CSIC de un fondo de libretos de ópera conservados en una de sus bibliotecas. Los libretos de ópera del fondo antiguo de musicología de la Institución Milá y Fontanals de Investigación en Humanidades (IMF). Se acaba de incorporar a Simurg un nuevo trabajo de digitalización de un conjunto de obras procedentes del fondo antiguo de musicología de nuestra biblioteca. En esta ocasión se han digitalizado 28 títulos de la colección de libretos del siglo XIX conservada en la Biblioteca de la IMF del CSIC en Barcelona. La colección se compone de 98 libretos encuadernados en 21 volúmenes, de óperas representadas entre los años 1822 y 1868 en los teatros de Madrid, teatro de la Cruz y el del Príncipe; y en Barcelona en el Teatro de la Santa Cruz, posteriormente Teatro Principal, y en el Liceo Filarmónico Dramático Barcelonés de S.M. Doña Isabel II, el actual y emblemático Liceo. Entre las obras digitalizadas se encuentran siete óperas de Gioachino Rossini, cinco de Gaetano Donizetti, tres de Vincenzo Bellini, tres de Giovanni Pacini, dos de Saverio Mercadante y obras de diversos autores como Giuseppe Verdi, Luigi y Federico Ricci, Giacomo Meyerbeer, Ferdinand Hérold y D.F.E. Auber. Los versos de las óperas están compuestos por libretistas, principalmente italianos, algunos muy conocidos y prolíficos como Felice Romani, Salvadore Cammarano, Leone Andrea Tottola, Jacopo Ferretti o Gaetano Rossi, muchos de ellos establecieron estrechas y fructíferas colaboraciones con los compositores. Es el caso de Felice Romani con Bellini, de quien se dijo que Romani era su libretista preferido. Compuso los versos de sus òperas La Straniera (1829), I Capuleti ed i Montecchi (1830), Beatriz de Tenda (1833) entre otras. Colaboró también con Saverio Mercadante para quien escribió La testa di bronzo (1827). Salvadore Cammarano fue, después de Romani, otro gran libretista que escribió para los más importantes compositores de la época. Cabe destacar su colaboración con Donizetti para quien escribió, entre otras, Lucia di Lammermoor (1835), Belisario (1836), Roberto Devereux (1837) y Élena da Feltre (1839) o La Vestale (1840) para Mercadante. Mención aparte merece el libretista francés Eugène Scribe, importante dramaturgo y el principal libretista de la ópera francesa. Muy prolífico, compuso un sinfín de obras estrenadas con gran éxito en los teatros de Paris, trabajó con los compositores Auber para quien compuso La muta di Portici (1828) y para Meyerbeer Les Huguenots (1836). Los libretos están en el texto original italiano, o traducidos a éste, como las óperas francesas de Auber y Meyerbeer que se representaron en italiano. Generalmente contienen un prólogo y un resumen de la acción en castellano o se imprimieron en edición bilingüe italiano y castellano. Como curiosidad, señalar que la mayoría de libretos barceloneses publicaban la portada en italiano, italianizando el nombre de la ciudad e, incluso, los nombres de pila de los cantantes debido a la tradición de la ópera italiana en la escena barcelonesa. Los libretos, en origen, eran publicaciones efímeras, de formato bolsillo impresos en papel barato destinados a proporcionar al espectador el texto y los personajes de la obra. En la actualidad son reconocidos como una valiosa fuente documental ya que frecuentemente aportan información sobre la fecha de producción, los nombres del compositor, el poeta, el reparto de cantantes (lo que permite estudiar su movilidad, carreras y repertorios), el director musical, la constitución de la orquesta, los escenógrafos, maquinistas, coreógrafo y bailarines; a veces con detalles de las danzas interpretadas, ofreciendo una detallada información sobre muchos aspectos de la representación de una ópera por lo que son considerados como importante material objeto de estudio de investigadores de la historia del teatro musical. Sirva esta muestra para dar a conocer la variedad y riqueza de los fondos que conserva nuestra Biblioteca, a la vez que nos permite descubrir los personajes desconocidos detrás de las grandes óperas como son los poetas autores de sus versos. Esperamos que os resulte de interés y sirva como conmemoración del Día de las Bibliotecas y el Día Mundial de la Ópera. Marta Ezpeleta, Responsable de la Biblioteca de la IMF PARA CONOCER MÁS... Relación completa de los libretos en la Biblioteca Virtual del CSIC. FUENTES CONSULTADAS 1. Heilbron Ferrer, M. (2013): El libreto de ópera en España como fuente para el estudio de la práctica musical: los libretos españoles de la primera mitad del siglo XIX. En: Anuario musical, 2013, núm. 68, p. 293-304. 2. Macnutt, Richard, "Libretto". En: Grove music online 3. Repertorio e archivio di libretti del melodramma italiano dal 1600 al 1900, en Corago Spanish Inglés Carta de Servicios | Contacto | Mapa del Sitio | Quejas y Sugerencias .
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