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18400 Cmp.Pdf ® I GRAN TEATRE DEL LICEU , Temporada 1996-97 CONSORCI DEL GRAN TEATRE DEL LICEU GENERALITAT DE CATALUNYA � AJUNTAMENT DE BARCELONA MINISTERIO DE CULTURA AJORlCA DIPUTACIÓ DE BARCELONA Joyas y Perlas Jewellery & Pearls ® II harhiere di Siviglia Òpera còmica en dos actes Llibret de Cesare Sterhini, sobre el text de Pierre-Augustin Caron de Beaumarchais Música de Gioacchino Rossini (amb sobretitulat) Teatre Victòria Dilluns, 16 de juny, 21 h, funció núm. 25, torn A Dijous, 19 de juny, 21 h, funció núm. 26, torn E Diumenge, 22 de juny, 17 h, funció núm. 27, torn T Dimecres, 25 de juny, 21 h, funció núm. 28, torn D Dissabte, 28 de juny, 21 h, funció núm. 29, torn e Dilluns, 30 de juny, 21 h, funció núm. 30, torn B GRAN TEATRE DEL LICEU - 150e Aniversari El Liceu fa 150 anys. Moltes felicitats a tothom que ho ha fet possible. junts en farem molts més! Societat, Consorci i Fundació del Gran Teatre del Liceu. IL·LUSIONATS AMB EL NOU LICEU. 1 8 4 7 / 1 997 IL·LUSIONATS AMB EL NOU LICEU. Generalitat de Catalunya, Ministerio de Cultura, Ajuntament de Barcelona, Diputació de Barcelona, Societat del Gran Teatre del Liceu i Consell de Mecenatge Autopistas C.E.SA II BILBAO BANCO VIZCAYA ARGENTARIA � w w w # BANCACATI'JANA u u u Banco II ...J Santander ...J ...J fiii· Central Hispano � BanesfQ Borsa de Barcelona ::J ::J ::J O O Cambra Oficial O de Comerç Z z Indústria i Navegació Z - de Barcelona ...J ...J ...J : R w w W ctlV[ •••• lli!�IJf!YA TURISME DE �f� RIJiO -­ BARCELONA i VINSA - , �Dragados .- w � Erkimia gasNajural l­ l­ l­ e( e( e( 11 z winterthur Z Z e PHILIPS Grupo Endesa O O O de Barcelona c� j\igües Telefónica ...J ...J ...J A Thvssen Boettlcher ...J ...J ...J MANTENIMIENTOS ESPECIALES IIHELLI WAAGNE�1ïl RUBENS, S.A. � ® GRAN TEATRE DEL LICEU 150è Aniversari Índex 11 Repartiment 12 Resum argumental 26 D'Arleq�í a Figaro 38 Cent vuitanta-un anys, ja, però sempre jove 57 Biografies 74 Enregistraments ® ..... : . II barbiere di Siviglia II conte d'Almaviva Bruce Ford Don Bartolo Enzo Dara (16, 19, 25 i 28) Enric Serra (22 i 30) Rosina Carmen Oprisanu Figaro Vladimir Chernov Don Basilio Stefano Palatchi (16, 25 i 28) . Paata Burchuladze (19, 22 i 30) Fiorello Francisco Vas Berta Itxaro Mentxaka Un oficial Antoni LIuch Direcció musical Josep Pons Direcció d'escena Jonathan Miller Realitzada per Henry Little Escenografia i vestuari Tanya McCaHin Il·lurninació Tom Mannings Servei ele sabateria Cornejo Servei de perruqueria Mario Audello Producció English National Opera (ENO) ORQUESTRA SIMFÒNICA I COR DEL GRAN TEATRE DEL LICEU Director del cor Andrés Máspero Violí concertino Manuel Villuendas Fortepiano Osias Wilenski Materials musicals BIVIG Ricordi Spa. Amb la col·laboració tècnica cie Roland Electronics de Espatla, S.A. i el suport cie Oido, S.L. Emile Bagard: Bazile. de Le barbier cie Séville de Beaurnarchais. Pàgina següent: Emile Bagard: Bartholo, de Le barbier cie Séville de Beaumarchais. Resum argumental L'acció d'aquesta òpera, basada en l'obra teatral de Beaumarchais Le Barbier de Séville (1775) -amb llibret de Cesare Sterbini- se situa a la Sevilla de la segona meitat del segle XVII/. Beaumarchais havia obtingut un gran èxit amb la trilogia iniciada pel Barbier i continuada per Le mariage de Figaro (1784) i La mère coupable (1792), on els mateixos personatges són sorpresos en diferents moments de les seves vides. La popularitat d'aquestes obres donà lloc -entre moltes altres­ a dues de les òperes més decisives de la història del gènere, Le nozze di Figaro de Mozart i la que avui es presenta. La música enjogassada de Rossini subratlla genialment la comicitat de les situacions, però esbrava la força crítica que feia la grandesa del text de Beaumarchais i que encara es mantenia poc a molt, en Mozart. obertura que Rossini destinà a Il barbiere di Siviglia havia format part de dues altres òperes del compositor, Aureliano in E Palmira (1813) iElisabetta d'Inghilterra (1815), amb algunes fa a es [I-lustració modificacions pel que la instrumentació. Sovint destaca amb anònima del Conte sorpresa que Rossini fos capaç de traslladar una destinada a d'ALna vi va i pàgina Rosina. crear un clima expressiu sever i seriós en un context radicahnent oposat. H E S u M ARC U M E \¡ TAL 141 H E S U \'1 A H G u M E x TAL 115 vostè es .. «Espero que «( .) Però suposem que trobi en un d'aquests a vostè tot lifunciona bé, moments feliços en què, que té un bon estómac, lliure de preocupacions, un bon cuiner, una content de la seva salut, amant honesta i un dels seus negocis, dels descans impertorbable. seus amors, del seu men­ En aquest cas, parlem, i jar, del seu estómac, concedeixi una audiència pugui trobar plaer en la al meu Barbier» lectura del meu Barbier CAIlON DE BEAUMAItCIiAIS Prefaci de l'autor a Le barbier de Séoille de Séville, ja que calen totes aquestes condicions Longhi: Freudeberg: per ser un home que es Comèdia del segle XflJl. Comèdia del segle XV!. presti a la distracció i un lector indulgent. «"Largo alfactotum" ens Se sent des de fora el taralIejar de Figaro, el barber fanfarró, que Però si accident ha cap Boillv. entra en escena amb una a la mà de i Louis-Léopold diu tot el que cal saber guitarra i, ple vitalitat, alegria la seva si canta la pertorbat salut, del barber de Rossini autosatisfacció, famosa ària d'entrada «Largo al factotum la seva situació és della città ... », on es vanta dels seus oficis i també de la seva insubs­ .. És ego pur .. En A T E (. ). ( .). corn a amorosa si la dona e I tituïble funció protector de tota intriga que tingui lloc compromesa; la seva ària Quadre I cataloga a la ciutat. que estima hafaltat als aquells talents, anomena Reconeix el Conte Almaviva, el qual havia servit en altre temps, seus si el seu juraments, ns en una trobem placeta de Sevilla, on hi ha la casa de Don els seus clients i en gene­ però aquest li demana discreció i li confia l'enamorament que l'ha va ser a sopar dolent la el balcó a les i Hi arriben a la ciutat i a en va sota el balcó de l'estimada. De Bartolo, .amb fos.ques. tancat� Fio­ ral els lloa (. ..). portat sospirar seva ai! rello, cnat del Conte Almaviva, 1 uns musics sobte, Rosina surt al balcó amb un paper a la mà, seguida de Don digestió pesada, E llogats per Pràcticament manca de l'arno en la serenata Rosina li vol fer creure el és llavors deixi a un costat acompanyar que cantarà tot seguit sota el balcó. Bartolo, suspicaç. que paper còpia d'una vida emotiva. Per exem­ Almaviva ha arribat a Sevilla atret l'amor sent ària, «La inutil en realitat és un bitllet en el meu no és el d'incògnit per que per precauzione», però què Barbier; no té interessos Rosina, la jove i bella de Don Bartolo, i ara li canta els seus ple, demana al Conte qui és i què vol. Fa veure que li cau, el recull el moment pupil-la oportú per en sexuals ni . surt carrer a sentiments la refinada cavatina «Ecco ridente in cielo». R o S S I N I romàntics (. .). Conte, i Don Bartolo al inútilment. Ple d'irritació, torna 'n» ocupar-se CONSTRUEIX UNA pACINA VOLCUDAMENT CONVENCIONAL, EN LA Com més l'estudiem més la casa i fa entrar-hi Rosina. CAnON I)E BEAUMAnCIlAIS QUAL LES VOCALITZACIONS SEMBLEN MÉS ESTEREOTIPADES QUE el bitllet i al Conte la voluntat del vell, avar i Prefaci de l'autor a Le barbier de Séoille es redueix a una sola Figaro llegeix explica S I N CER E s. Però Rosina no al balcó i a fer-se de desconfiat tutor, de casar-se amb d'una herència apareix comença dia. emoció: Rosina, posseïdora El fa autoglotificacio» considerable. Surt de la casa Don vol casa­ Conte que Fiorello pagui els músics, que marxen en desordre i Bartolo, que avançar el PAUL ROlliNSON sorollosament mio i resta decebut i des­ ment i dóna ordres no s'obri a El Conte ho (<<Mille grazie, Signore»), Enlightenment and Heaction perquè ningú. aprofita per orientat. cantar de nou, ara amb l'atenció explícita de Rosina que hi intervé 16 I n [ S li -�! fi n e L y! [ N T fi L «L'escena del balcó, al Barbiere, és divina per la música; és d'una gràcia ingènua i tendra. Rosina l'esquiva per arribar al superb duetto buf " "All'idea di quel metallo! Els primers compassos expressen de manera per­ [ecta l'omnipotència de l'or als ulls de Figaro. Caricatures dels personatges de /I barbiere di Sioiglia A pàgina següent: L'exhortació del Conte a l'estrena a l'Opéra Cornique, de Paris (1884)_ Domenico Tiepolo (1795). "Su, vediam di quel me­ des de dins, i fer-li creure és un estudiant sense talio" és pròpia, en canvi, que pobre diners, però tendrament enamorat d'ella, a fi que la noia pugui estimar-lo d'unjove de qualitat que per si mateix i no influïda pel seu rang. ÉS LA FAMOSA I ELECANT no està prou enamorat per CANÇÓ «SE IL MIO NOME SA'PER VOl BRAMATE», AMB ACOMPANYA· no de divertir-se, passada, MENT DE CUITARRA, QUE CONTRASTA AMB LA CAVATINA INICIAL amb la golafreria­ DEL CONTE PEL SEU MELODISME, NUESA I ABSÈNCIA D'ARTIFICIS subalterna d'un Figaro VOCALS: ROSSINI ASSENYALA AiXí QUE LA CONVERSIÓ DEL CONTE TRACTA davant la visió de l'or.
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