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Vittorio Grigolo Tosca En Bellas Artes “La Ópera Emerge De Lo Más Profundo”

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Vittorio Grigolo Tosca En Bellas Artes “La Ópera Emerge De Lo Más Profundo” año XIX • número 4 julio – agosto 2011 • cincuenta pesos CENTENARIO Gustav Mahler en México AUDIO La Fonoteca Nacional ENTREVISTAS Carlos Miguel Prieto Marcela Rodríguez Ramón Vargas CRÍTICA VITTORIO GRIGOLO Tosca en Bellas Artes “La ópera emerge de lo más profundo” www.proopera.org.mx¾pro opera DIRECTORIO REVISTA COMITÉ EDITORIAL índice Felipe García Fricke 2 Editorial Charles H. Oppenheim Ignacio Orendain Kunhardt Nuestros patronos José Sánchez Padilla Xavier A. Torresarpi 4 Cartas al editor 6 Ópera en México DIRECTOR GENERAL Xavier A. Torresarpi 9 México en el mundo EDITOR Charles H. Oppenheim CRÍTICA [email protected] 10 Tosca en Bellas Artes CORRECCIÓN DE ESTILO CENTENARIO Darío Moreno 12 Gustav Mahler en México COLABORAN EN ESTE NÚMERO Alejandro Anaya Huertas 16 Das Lied von der Erde 2 Jorge Barradas García Emotivo testamento Otto Cázares Ragnar Conde 19 Gustav Mahler Raúl Díaz (1860-1911) Juan Carlos García Bazán Ingrid Haas Ricardo Marcos COMPOSITORES José Noé Mercado 20 Marcela Rodríguez: Mayra Müggenburg “Los personajes René Palacios Vladimiro Rivas Iturralde me dictan la música” Hugo Roca Joglar Emilio Segovia AUDIO Gonzalo Uribarri Carpintero 24 La Fonoteca Nacional www.proopera.org.mx. PORTADA 28 Vittorio Grigolo: CORRESPONSALES EN ESTE NÚMERO “La ópera emerge de lo más profundo” Eduardo Benarroch Francesco Bertini ÓPERA Y JUSTICIA Jorge Binaghi 32 El caso Makropulos: Federico Figueroa Lorena Jiménez Ópera, longevidad y ficción Daniel Lara Maria Nockin ENTREVISTA Gustavo Gabriel Otero 36 Ramón Vargas en Múnich Alicia Perris Roberto San Juan PERFILES Ximena Sepúlveda 2 Massimo Viazzo 40 Jacques Offenbach y la opereta parisina ÓPERA Y JAZZ FOTOGRAFIA 44 Porgy and Bess: Ana Lourdes Herrera Una ópera de folklore americano DISEÑO GRAFICO Ida Arellano DISCOS 48 Carmen en DVD; The Italian Tenor, de Vittorio DISEÑO PÁGINA WEB Grigolo; Verismo, de Jonas Kaufmann; I puritani en Christiane Kuri – Espacio Azul DVD DISEÑO LOGO Ricardo Gil Rizo EFEMÉRIDES 52 Ars longa, vita brevis: IMPRESION Servicios Profesionales de Impresión, S.A. de C.V. Rinaldo, de Händel (1711); Heinrich Marschner (1795-1861); Gian-Carlo Menotti (1911-2007) DISTRIBUCION Publicaciones CITEM, S. A. de C. V. LETRAS SONORAS 56 Del armario al escenario, 44 de Adolfo Planet PRO ÓPERA, A. C. LIBROS DIRECTORA 58 La mujer mexicana en la música, de Esperanza Irma Cavia Pulido; La imaginación sonora, de Eugenio Trías GERENTE Juan Ignacio Gutiérrez RETRATO 60 Giovanni de’Bardi, ASISTENTE ideólogo del juego Alicia Martínez Vargas LA ÓPERA EN CLARO 62 Consideraciones sobre las puestas en escena Pro Ópera. Periodicidad bimestral. (primera de tres partes) Año XIX número 4, julio-agosto 2011. Certificado de Reserva de Derechos al Uso Exclusivo de Pro Ópera, A.C.: 04-2008-061711331300-102. Certificado de Licitud de Título No. 13084 y Certificado de Licitud de Contenido No. 10657, www.proopera.org.mx ambos de fecha 20 de Abril de 2005 y con número de Expediente 1 / 432-05/16969, ante la Comisión Calificadora de Publicaciones Otras voces y Revistas Ilustradas. Más puntos de vista de la crítica nacional sobre la Tosca en Publicada por Pro Ópera, A. C. Domicilio de la publicación: Bellas Artes. El director de escena Ragnar Conde reflexiona Thiers 273-A, Col. Anzures, 11590, México, D.F. Teléfonos: 5254-4820, 5254-4822, 5254-4823. sobre “La responsabilidad del artista y del crítico”. José Noé Fax: 5254-4825. Mercado escribe sobre la rehabilitación del Teatro de Bellas www.proopera.org.mx Artes. E-mail: [email protected]. Editor responsable: Pro Ópera, A.C. Entrevistas en línea Impreso por Servicios Profesionales de Impresión, Ingrid Haas entrevista al director ruso Semyon Bychkov, para 52 S.A. de C.V. Mimosas 31, Santa María Insurgentes, 06430, México, D. F. quien “la música es como los ojos: no puede mentir”. Ximena Distribuido por Publicaciones CITEM, S.A. de C.V. Sepúlveda pone “bajo la lupa” la carrera del tenor yucateco Julio Velázquez. El contenido de los artículos es responsabilidad exclusiva de los autores. PORTADA Todos los derechos están reservados. Prohibida la Ópera en el mundo reproducción parcial o total del contenido sin el Presentamos una treintena de reseñas de ópera de la temporada Vittorio Grigolo consentimiento por escrito de los editores. 2010-2011 en América y Europa. FOTO:pro © Alessandro ópera Dobici PATRONATO PRO ÓPERA, A. C. PRESIDENTE HONORARIO Ramón Vargas CONSEJO DIRECTIVO PRESIDENTE Ignacio Orendain Kunhardt SECRETARIO Gonzalo Fernández Villanueva TESORERO José Germán Sánchez Padilla VOCALES Adriana Alatriste Lozano Javier Becerra Hernández Felipe García Fricke Luis Gutiérrez Ruvalcaba Gumaro Lizárraga Martínez Carlos Müggenburg Charles H. Oppenheim Elena Quintanilla del Campo María Luisa Serrato de Chávez Greta Shelley Medina EX PRESIDENTES Antonio y Josephine Dávalos (qepd) Ignacio Sunderland Elías Sheinberg Adolfo Patrón Luján EDITORIAL Luis Rebollar Corona Benjamín Backal (qepd) DIRECTORA El nuevo look Irma Cavia de Pro Ópera Nuestros patronos BENEFACTORES Manuel Marrón Gonzalo Fernández Villanueva Bruno J. Newman Flores ada cierto tiempo, conforme van cambiando las Alfredo Harp Helú Mario y Yolanda Ortega Gumaro Lizárraga Martínez Jaime Panqueva Bernal Cmodas y los gustos, uno de pronto se mete al Samuel Rimoch (qepd) Ramón Pedroza Meléndez Eduardo Pérez Varona armario y renueva su guardarropa; o se cambia de PATROCINADORES José Pinto Mazal Jorge Ballesteros Franco Eduardo Roldán Machaen estilo de corte de cabello. Lo mismo ocurre con las Luis Gutiérrez Ruvalcaba Alfredo Ruiz del Río revistas. Carlos y Mayra Müggenburg Alejandro Sánchez González Enrique Ochoa Vega David y Jeny Serur José Alfredo Santos Asseo Greta Shelley Medina Jorge Vargas Diez Barroso Ana Stella Uhthoff En el caso de Pro Ópera, hemos cambiado el Carmen Sunderland CONTRIBUYENTES Manuel M. Soto Gutiérrez logotipo del cabecal de la portada de la revista en Sofía Aspe por lo menos cuatro ocasiones, como podrá observar Constancia Díaz Estrada AFICIONADOS Felipe García Fricke Antonio Amerlinck el lector con la muestra de portadas seleccionada. Alicia García Cobos de Clark Yomtov Bejar y Sra. Eugenia de Bejar José García Martínez Irma Bravo Marilú Herrera Yolanda Chemor Felisa J. de Campos Fernando Estandía Ahora, por quinta ocasión, aprovechando que este Roberto Núñez y Bandera Gloria Paola Fragoso Contreras año nuestra asociación civil cumple 25 años, hemos Adolfo Patrón Luján Blanca Galindo Elena Quintanilla José Galindo querido renovar nuestro look, sin hacer un cambio Pedro González Azcuaga AMIGOS Marcela González Salas radical. Partiendo del diseño original de Francis Adriana Alatriste José Luis González Vivanco Alfredo Arvizu Renee Guindi Xavie del despacho Página Cinco, inaugurado en Beatriz Backal Teresa Madero de Sada la edición marzo-abril de 1997, Ricardo Gil Rizo, Javier Becerra Hernández Ignacio Morales Camporredondo Víctor Cohen Levy Elda Morales Lomelí en colaboración con Espacio Azul, el despacho que Jorge Díaz Estrada Maria Guadalupe Moreno y Aguirre Margarita Díaz Rubio Santiago Paredes diseña nuestro portal de Internet, nos presentó varias Héctor Grisi Urroz Julia Puga Carlos Héctor Hernández Torres Alejandro Sánchez González opciones para actualizar el logo. El que ven nuestros Wendy Hesketh Sergio Shapiro lectores en la portada Luz María Llorente Perla Tabachni Manuel Marrón Héctor Ignacio de la Torre es el que eligieron Roberto y Maggy Martínez Guerrero Hernández Carlos de la Mora Víctor Trujillo los miembros de Gustavo O’Farrill Ferro Elba Valladolid Cabrera Ignacio Orendain Kunhardt Marco Antonio Valle Romero nuestro Comité Mario y Yolanda Ortega Salvador Velásquez Briseño Editorial. Ojalá Francisco Pallach Poupa Salvador Villalpando Hernández Nelly Paullada de Del Castillo que sea de Raúl Ramírez Degollado SIMPATIZANTES Luis Rebollar Corona Malke Bellifemine Podlipsky su agrado. Fausto Rico Álvarez Joaquín de la Bobolla Adriana Salinas Felipe Castro Orvañanos Jorge Antonio Sánchez Cordero Dávila Fernando David Estavillo Castro Charles H. José Sánchez Padilla Amira Escalante María Luisa Serrato de Chávez Fernando González Aguilar Oppenheim Javier y Kathryn Vargas Mendoza Ana María Mancidor A. López Velarde, Heftye y Soria. S.C. Cesar Méndez Calatayud Editor Verónica Noriega de Uhthoff DONADORES Jorge Pérez Ruíz Manuel Álvarez Matilde Romo Juanita Ayala Carmen Ruíz de Autrique Atala Elorduy Elorduy Sara Sajdman Roberto Gómez Aguado Xavier Torresarpi Arseny José Lepiavka Ruíz Carlos Uhthoff Orive pro ópera Informes sobre Patronato y Beneficios: [email protected] CARTAS AL EDITOR Aclaración En referencia a su edición de marzo-abril 2011, sección Retrato, página 56, quisiera precisar que la ópera que Jacopo Peri estrenó en las fiestas de la boda de Maria de Medici y Enrique IV de Francia en 1600, fue Euridice, no Dafne, que en efecto fue el primer dramma per musica, estrenado en 1598. Su partitura desapareció, para mala fortuna. Euridice es la primera ópera cuya partitura llegó a nuestros días. Con seguridad Otto Cázares está al tanto de este detalle. Terencio Somarone Inconforme con la escenografía de Tosca Primeramente, para enviarle afectuosos saludos y felicitarlo por su reciente aparición en la ópera Tosca el pasado domingo 15 del presente. Debo comentarle que las interpretaciones de todos los cantantes: Bertha Granados (Tosca), Diego Torre (Mario Cavaradossi), Juan Orozco (Barón Scarpia), Ricardo López (Cesare Angelotti), Charles Oppenheim (Sacristán) y el resto del elenco fueron más que buenas, lo mismo que la del director concertador, Niksa Bareza. No puedo decir lo mismo del señor Ricardo Legorreta, el cual podrá ser un buen arquitecto, pero como escenógrafo ni idea tiene sobre cómo debe ser la misma (me refiero al interior de la iglesia de Sant’Andrea della Creo que se deberían utilizar las técnicas modernas para hacer las Valle, el Palazzo Farnese y el Castel Sant’Angelo). Y qué decir cosas bien y no “al ahí se va”. Se pueden hacer intercambios con de la decoración que se usó en toda la ópera: un verdadero fiasco otras casas de ópera, y contratar a muchos cantantes mexicanos que y falta de gusto del que son responsables los talleres de utilería, actualmente son muy buenos y son reconocidos en el extranjero.
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