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Závěrečné Práce JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Studijní program zpěv Fenomén Tři tenoři Diplomová práce Autor práce: BcA. Jiří Ullrich Vedoucí práce: doc. MgA. Mgr. Monika Holá, Ph.D. Oponent práce: PhDr. MgA. Alena Borková Brno 2018 Bibliografický záznam ULLRICH, Jiří. Fenomén Tři tenoři [The Three Tenors phenomenon]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, 2018 54 s. Vedoucí diplomové práce, doc. MgA. Mgr. Monika Holá, Ph.D. Anotace Diplomová práce „Fenomén Tři tenoři“ pojednává o historii a vývoji tenorového hlasu, o životech a kariérách tenorů José Carrerase, Plácida Dominga a Luciana Pavarottiho, triu, které vytvořili a jeho vlivu na další hudební vývoj a vznik podobných uskupení. Annotation Diploma thesis „The Three Tenors phenomenon” deals with history and development of the tenor voice, lives and careers of the tenors José Carreras, Plácido Domingo and Luciano Pavarotti, the trio they created and it´s influence on further musical development and the creation of the similar groups. Klíčová slova Tři tenoři, José Cerreras, Plácido Domingo, Luciano Pavarotti, fenomén, tenor. Keywords The Three Tenors, José Carreras, Plácido Domingo, Luciano Pavarotti, phenomenon, tenor. Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 12. května 2018 Jiří Ullrich Poděkování Na tomto místě bych rád poděkoval paní doc. MgA. Mgr. Monice Holé, Ph.D. za trpělivé vedení diplomové práce. Obsah ÚVOD .......................................................................................................................... 5 1. TENOR A JEHO HISTORICKÝ VÝVOJ ...................................................... 6 1.1 ENRICO CARUSO ............................................................................................. 14 1.2 TITO SCHIPA ................................................................................................... 17 1.3 BENIAMINO GIGLI ........................................................................................... 18 1.4 GIUSEPPE DI STEFANO .................................................................................... 19 2. JOSÉ CARRERAS .......................................................................................... 20 3. PLÁCIDO DOMINGO .................................................................................... 25 4. LUCIANO PAVAROTTI ................................................................................ 32 5. PRVNÍ KONCERT TŘÍ TENORŮ ................................................................ 39 6. TŘI TENOŘI POKRAČUJÍ ........................................................................... 44 7. FENOMÉN TŘI TENOŘI A JEHO VLIV NA VZNIK NOVÝCH HUDEBNÍCH USKUPENÍ ............................................................................. 46 ZÁVĚR ...................................................................................................................... 47 POUŽITÉ INFORMAČNÍ ZDROJE ..................................................................... 52 Úvod Cílem mé diplomové práce je blíže se seznámit s koncertním triem Tři tenoři a jejich vlivu na budoucí generace pěvců, kteří nalezli inspiraci v modelu, jaký tito nejslavnější tenoristé novodobé historie jako první představili širším masám posluchačů. Hodlám se též zabývat historií vývoje tenorového hlasu s představením několika důležitých tenorových osobností, na které navazuje generace Třech tenorů. Blíže se zaměřím na první koncert Tří tenorů, a také na příklady hudebních uskupení, která se Třemi tenory inspirovala a stavěla na podobných principech. Toto téma je pro mne srdeční záležitostí, je pro mne samotného velmi inspirující, neboť to bylo právě toto hvězdné trio, které u mě zažehlo touhu zpívat, když jsem se v devadesátých letech prvně zaposlouchal do líbivých melodií, které v jejich podání zaznívaly prostřednictvím televizní obrazovky. 5 1. Tenor a jeho historický vývoj K pochopení tajemství úspěchu a obliby zpěváků s tenorovým hlasem, je třeba se vydat do minulosti, k počátkům kultivování hlasu a jeho postupnému technickému zdokonalování. V následují kapitole se tedy blíže seznámíme s cestou vývoje techniky tenorového hlasu, mocného nástroje produkce zářných výšek. Tenorový hlas současných pěvců na celém světě je výsledkem vývoje, který probíhal celá staletí a jedná se o poměrně nový způsob zpěvu. Samotné slovo „tenor“ pochází z latinského „tenere“, v doslovném překladu "držet". Byl to tedy původně hlas, který ve středověké polyfonní hudbě držel základní linie písně, tzv. cantus firmus, nezáleželo tedy na tom, zda dotyčný zpěvák je skutečně fyziologicky tenor či nižší hlas. Na přelomu šestnáctého a sedmnáctého století byly skládány první opery, ve kterých hrál tenor jako hlas důležitou roli, a to trvalo několik desetiletí až do příchodu nového, silnějšího a expresivnějšího hlasu, kterým byl kastrát. Jak uvádí brazilský tenorista Gustavo Steiner Neves ve studii The Rise of the Tenor Voice1, už italský teoretik období baroka Giovanni Battista Doni (1593-1647) tvrdil, že výběr tenorového hlasu byl vhodnější pro důležité role. Dalším důvodem pro význam tenorového hlasu na začátku operní historie je možná skutečnost, že mnozí z hlavních operních skladatelů té doby byli sami tenorové, např. Jacopo Peri (1561- 1633) nebo Giulio Caccini (1551-1618). Mezi hlavní tenorové role patřil Orfeus v operách Euridice, jak Periho, tak Cacciniho, stejně jako v opeře L'Orfeo, Claudia Monteverdiho. Monteverdiho hrdinu zpíval Francesco Rasi (1574-1621), který byl sám skladatelem, básníkem, zpěvákem a Cacciniho studentem. Monteverdi měl ve svých několika operách také hlavní tenorové role, ale v opeře L'incoronazione di Poppea (1642), už hlavní mužskou roli Nera zpívá kastrát. Italská tradice kastrace mladých chlapců, za účelem zachování dětského zpěvního hlasu, má své počátky v hudbě duchovní, kdy ženám nebylo dovoleno vystupovat a vysoké hlasy zpívaly buď chlapecké soprány, nebo kontra- tenorové, ale ani jeden z nich nebyl pro tento typ hudby zcela uspokojivý. Chlapci byli hudebně nespolehliví, a když se dostali do puberty, prošli mutací a jejich hlasy 1 NEVES, Gustavo Steiner. The Rise of the Tenor Voice. [on-line]. [2018-05-12]. Dostupné z: https://riseofthetenor.weebly.com/ 6 se změnily. Kontra-tenorové zase nebyli schopni produkovat tak líbezné tóny, aby uspokojili tehdejší hudební vkus. Řešením tedy byli kastráti, zpěváci, v jejichž postavách dospělých mužů skrývali hlas, který byl považován za andělský, a především jiný ve smyslu expresivity a sladkosti. Příchod tohoto nového typu hlasu znamenal v Itálii odsunutí tenoru do pozadí. Hrdinné role a role milovníků se staly rolemi kastrátů a tenor byl obsazován jen do malých nebo komických rolí. Například sluhové, groteskní role, ale také travestiti, tedy staré ženy, sestry apod. Od sedmnáctého století měla italská hudba velký vliv na hudbu celé Evropy. Ovšem ve Francii nebyl ani tenor ani kastrát nejčastěji používaným hlasem. Namísto toho se zde prosazoval kontra-tenor. Lépe na tom tenorové byli v Německu a Anglii, zejména jako sólový hlas v duchovní hudbě. Kastráti tedy vystupovali po celé Evropě a Mozartovy počáteční opery toho byly důkazem, kastráti v nich představovali hlavní role, přičemž tenor naopak role druhořadé. Ale už zde s Mozartem můžeme vidět změnu, v jeho vrcholných italských operách dominovaly v hlavních rolích barytonové hlasy, Don Giovanni nebo Figaro. Tenoři se naproti tomu museli spokojit s komickými rolemi nebo zřetelně druhotnými, jako byl např. Don Ottavio, zatímco v Mozartových německých operách to byly role hlavní, jako Belmonte a Tamino. S příchodem devatenáctého století se umění zpěvu stává stále více vědeckým a technickým. Poprvé se začíná se studiem vokální fyziologie, s hledáním zdravějších a lepších způsobů k dosažení optimální vokální produkce. Objevuje se nauka o registrech a přechodech, hrudní tón versus hlavový. To byl zcela zásadní okamžik, který v první polovině devatenáctého století vyzdvihl tenor do nejvyšších pozic. Až do tohoto okamžiku měli tenorové nižší hlas, než jak jsme zvyklí v současnosti. Vysoké tóny byly zpívány zcela jiným způsobem, v přechodových polohách zpěváci přecházeli na čistý hlavový tón nebo falzet. To se však mělo změnit s příchodem Rossiniho a belcantové školy. Do té doby bylo umění zpěvu spíše záležitostí virtuozity. Diváci chtěli zpěváky slyšet zpívat výše, rychleji a hlasitěji. Vysoké hlasy, soprány a kontra-alty, to byly hlasy, které ovládaly operní scény osmnáctého století. Láska ke koloraturám v barokním období umožnila sopránům a kastrátům vládnout jako superhvězdy oné doby. Tenor jako hlas začal dosahovat vyšších tónů během devatenáctého století, spojoval sílu mužského hlasu se sladkostí a kouzlem hlasů ženských a začal získávat stále více prostoru na jevišti. Nejprve se prosazoval v opeře komické, nicméně zájem publika o vyšší hlasy stále více sílil a soprán a tenor lákal více než alt a baryton a 7 mezi roky 1830 a 1850 převzal role milovníků, které do té doby ztvárňovaly kontra- alty. Příležitosti pro tenory se značně rozšiřovaly, ale důležitou roli měl i baryton, který se ideálně hodil pro role darebáků a mocných mužů. Unikátní styl a opery Gioachina Rossiniho (1792-1868) hrají v umění zpěvu velmi důležitou roli, jeho vize pomohla přinést okázalý styl opery na zcela novou úroveň virtuozity. Rossiniho vokálním ideálem ale byli stále kastráti, cítil, že jsou to zpěváci, kteří mohou spojit vokální virtuozitu a nepřekonatelnou expresivitu. A vzhledem
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