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WALKÜRE-DIE.Pdf 2 La Fenice prima dell’Opera 2005-2006 2 2005-2006 Fondazione Stagione 2005-2006 Teatro La Fenice di Venezia Lirica e Balletto Richard Wagner DieWalkure¨ La valchiria alküre W ie D agner W ichard ichard R FONDAZIONE TEATRO LA FENICE DI VENEZIA ALBO DEI SOCI FONDATORI ALBO DEI SOCI FONDATORI CONSIGLIO DI AMMINISTRAZIONE Massimo Cacciari presidente Luigino Rossi vicepresidente Cesare De Michelis Pierdomenico Gallo Achille Rosario Grasso Mario Rigo Valter Varotto Giampaolo Vianello consiglieri sovrintendente Giampaolo Vianello direttore artistico Sergio Segalini COLLEGIO DEI REVISORI DEI CONTI Giancarlo Giordano presidente Adriano Olivetti Paolo Vigo Maurizia Zuanich Fischer SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. die walküre La valchiria prima giornata della sagra scenica Der Ring des Nibelungen, in tre atti libretto e musica di Richard Wagner Teatro La Fenice mercoledì 25 gennaio 2006 ore 18.00 turno A sabato 28 gennaio 2006 ore 15.30 turno C martedì 31 gennaio 2006 ore 18.00 turno D giovedì 2 febbraio 2006 ore 18.00 fuori abb. domenica 5 febbraio 2006 ore 15.30 turno B martedì 7 febbraio 2006 ore 18.00 turno E La Fenice prima dell’Opera 2005-2006 2 Franz von Lenbach (1836-1904), Richard Wagner (1871). Olio su tavola. Bayreuth, Proprietà Winifred Wagner. La Fenice prima dell’Opera 2005-2006 2 Sommario 5 La locandina 7 «Sie, der Lenz / lacht in den Saal!» di Michele Girardi 11 Luca Zoppelli Antigone nel Walhall: Die Walküre. Drammaturgia tragica, disobbedienza civile e utopia dell’opera. 25 Arne Stollberg La «semeiotica sonora» dei gesti. Linguaggio del corpo e forma musicale in Die Walküre di Wagner 45 Die Walküre: libretto e guida all’opera a cura di Riccardo Pecci 147 Die Walküre: in breve a cura di Gianni Ruffin 149 Argomento – Argument – Synopsis – Handlung 159 Riccardo Pecci Bibliografia 165 Online: Autoanalisi, ovvero le scappatelle di Wotan a cura di Roberto Campanella 177 Dall’archivio storico del Teatro La Fenice Quando il Ring sbarcò a Venezia … a cura di Franco Rossi Locandina della prima rappresentazione assoluta (München, 1870). die walküre (La valchiria) Prima giornata della sagra scenica Der Ring des Nibelungen, in tre atti libretto e musica di Richard Wagner una produzione di Robert Carsen e Patrick Kinmonth Editore proprietario Schott, Mainz - Rappresentante per l’Italia Sugar Music, Milano personaggi ed interpreti Siegmund Christopher Ventris Hunding Kristinn Sigmundsson Wotan Greer Grimsley Sieglinde Petra Lang Brünnhilde Janice Baird Fricka Doris Soffel Gerhilde Alexandra Wilson Ortlinde Dorothee Wiedmann Waltraute Mary Ann McCormick Schwertleite Carla Centi Pizzutilli Helmwige Inka Rinn Siegrune Julie Mellor Grimgerde Elsa Waage Roßweiße Fredrika Brillembourg maestro concertatore e direttore Jeffrey Tate regia Robert Carsen scene e costumi Darko Petrovic, Patrick Kinmonth light designer Manfred Voss Orchestra del Teatro La Fenice in lingua originale con sopratitoli in italiano costumi, scene e parti della decorazione realizzati nel laboratorio dell’Oper der Stadt Köln 6 LA LOCANDINA prima di ogni rappresentazione verrà proiettato, in collaborazione con la Fondazione Bevilacqua La Masa e il Comune di Venezia, il video KIMSOOJA.TO BREATHE / RESPIRARE a cura di Francesca Pasini direttore musicale di palcoscenico Giuseppe Marotta direttori di palcoscenico Paolo Cucchi, Lorenzo Zanoni responsabile allestimenti scenici Massimo Checchetto maestro di sala Stefano Gibellato aiuto maestro di sala Joyce Fieldsend altro direttore musicale di palcoscenico Silvano Zabeo altro direttore di palcoscenico Walter Marcanzin drammaturgia Ian Burton assistente alla regia Oliver Kloeter assistente ai costumi e responsabile vestizione Carlos Tieppo maestri di palcoscenico Raffaele Centurioni, Ilaria Maccacaro maestro rammentatore Pierpaolo Gastaldello maestro alle luci Gabriella Zen capo macchinista Vitaliano Bonicelli capo elettricista Vilmo Furian capo attrezzista Roberto Fiori responsabile della falegnameria Adamo Padovan coordinatore figuranti Claudio Colombini realizzazione per Venezia Decorpan (Treviso) parrucche e trucco Fabio Bergamo (Trieste) calzature C.T.C. Pedrazzoli (Milano) effetti pirotecnici Flavio Guerini (Brescia) sopratitoli Studio GR (Venezia) «Sie, der Lenz / lacht in den Saal!» Il Teatro La Fenice vanta una lunga consuetudine con Der Ring des Nibelungen, ca- polavoro imprescindibile e sommo dell’arte drammatica di Richard Wagner. Dopo che il compositore era morto a Venezia negli appartamenti di Ca’ Vendramin Calergi do- ve risiedeva, il 13 febbraio del 1883 («Triste! Triste! Triste! Vagner è morto!!!» fu il la- pidario commento di Verdi), il tenore e impresario austriaco Angelo Neumann volle iniziare dalla Fenice, in una sorta di omaggio ideale alla città prediletta da Wagner, la prima tournée al di fuori della Germania del monumentale ciclo. Esso fu dato in prima rappresentazione italiana e in lingua originale il 15 aprile, a due mesi dal lutto, e di- retto da una bacchetta prestigiosa come quella di Anton Seidl (se ne leggano qui i re- soconti nelle cronache dall’archivio di Franco Rossi). Per rivedere un’altra Tetralogia in laguna bisognerà attendere il 1957, ma intanto i veneziani poterono assistere già nel 1899 alla prima ripresa de La valchiria in italiano che, tra le quattro opere della «sa- gra scenica» fu sempre quella più amata dal pubblico del nostro paese. E nel 1949 sa- lutarono il miracolo di Maria Callas che, dopo aver indossato i panni di Brünnhilde l’8 gennaio, dette avvio a una nuova era dell’interpretazione, sostenendo il ruolo di Elvira dei Puritani il 19 dello stesso mese. Ora la storia continua … Die Walküre approda oggi in laguna come parte di una nuova produzione del Ring che il pubblico della Fenice avrà modo di vedere per intero negli anni a venire, dunque anche questo volume viene concepito come parte di quel tutto. La riflessione di Luca Zoppelli, che scriverà il saggio introduttivo anche alle tre opere rimanenti, prende qui avvio dalla constatazione di un dato di fatto sinora piuttosto trascurato dalla critica, ossia che «i quattro drammi del Ring sono concepiti […] a partire da diversi modelli di genere letterario» i quali «generano altrettanti tipi di drammaturgia, e di conseguenza differenti strategie per quanto riguarda le funzioni della musica nel dramma stesso». Se «Das Rheingold presenta i tratti di un mito, […] Siegfried è organizzato invece come una fiaba» mentre «la Götterdämmerung ha tutti i tratti dell’opera, ossia – nella for- ma ‘seria’ del primo Ottocento – di un dramma a scioglimento funesto ove l’eroe so- cialmente marginale soccombe all’intrigo ordito da un antagonista negativo». Dal can- to suo Die Walküre «si conforma in buona parte alle teorie idealistiche sulla poetica del tragico», ed è in questa chiave che lo studioso rilegge la prima giornata del ciclo, tragedia di Wotan dove la protagonista Brünnhilde è la più affascinante delle trasposi- zioni, in chiave nordica, dell’Antigone di Sofocle. 8 MICHELE GIRARDI Nel secondo saggio critico Arne Stollberg prende lo spunto dai rilievi mossi al Wa- gner ‘teatrante’ anzitutto da Nietzsche e in seguito da Adorno, per tracciare un nuovo approccio alla gestualità nel Musikdrama, ritenendo che «il gesto, scenico e musicale, per Wagner non è certo una concessione alla prassi istrionica, ma è al contrario una componente sostanziale della teoria dell’“opera d’arte dell’avvenire”. E in quanto tale è proprio un aspetto critico e culturale di considerevole portata, sebbene a prima vista ciò possa suonare sorprendente». Seguendo un percorso originale, e muovendosi con agio tra dichiarazioni estetiche e annotazioni di regìa in rapporto alla musica, Stollberg conclude con un invito motivato a valutare con attenzione l’azione scenica «come que- sta è di volta in volta iscritta nella configurazione ritmica», poiché «la forma musicale in Wagner è sempre un derivato della dimensione fisica, la quale viceversa aiuta la for- ma musicale a conseguire presenza visiva». La guida all’ascolto ricopre un ruolo particolarmente importante per un lavoro co- me il Ring, dove l’artefice scatena una fitta rete di motivi conduttori che percorrono l’in- tero ciclo, con l’intento sia di assicurare continuità al fluire della musica, sia di traccia- re una sorta di percorso semantico dal mondo mitico del Rheingold fino al mondo degli uomini, protagonisti della Götterdämmerung. Riccardo Pecci, che curerà i libretti e le relative guide all’ascolto del Bühnenfestspiel, ci accompagna all’interno del complesso universo di Walküre, regalandoci molte riflessioni preziose sulla sua drammaturgia mu- sicale. Il giovane studioso riserva al prosieguo, tuttavia, il commento sul ruolo (impor- tantissimo) che il tema dell’es. 26 (qui a p. 124) rivestirà per l’intera Tetralogia. Non in- tendo sciogliere il suo legittimo riserbo (parte anch’esso di una strategia narrativa), ma solo proporre al lettore l’unico scorcio in cui quel tema, a differenza di tanti altri moti- vi pressoché onnipresenti, ritorna a suggello dell’intero Ring, quando Brünhilde, priva- ta della sua natura ‘divina’ fin dalle battute conclusive di Walküre, e dunque donna, compie l’ultimo gesto d’amore, decisivo, dell’immane ciclo («Im Feuer leuchtend, / liegt dort dein Herr» – «Tra fuoco rilucente / là giace il tuo signore»): Glorificazione di Brünnhilde Fl., Ob. poco Motivo di Sigfried Tr. II Un’avventura lunghissima si chiude qui, dove la melodia della protagonista s’unisce in contrappunto a quella dello sposo Siegfried, figlio dell’amore che si era acceso nel fi- nale primo di
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