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Esotismo Nordico. Studio Storico-Critico E Filologico Della Faniska Di Luigi Cherubini

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Esotismo Nordico. Studio Storico-Critico E Filologico Della Faniska Di Luigi Cherubini Scuola Dottorale di Ateneo Graduate School Dottorato di ricerca in Storia delle Arti Ciclo 27° Anno di discussione 2016 Esotismo nordico. Studio storico-critico e filologico della Faniska di Luigi Cherubini SETTORE SCIENTIFICO DISCIPLINARE DI AFFERENZA: L-Art/07 Tesi di Dottorato di Giada Roberta Viviani, matricola 790751 Coordinatore del Dottorato Tutore del Dottorando Prof. Giuseppe Barbieri Prof. Paolo Pinamonti Indice 1 – La Faniska di Luigi Cherubini tra tradizione italiana, tedesca e francese: studio storico critico e filologico dell’opera — Stato dell’arte p. 8 — La Faniska e il suo contesto: questioni aperte p. 15 — Metodologie e obiettivi della ricerca p. 20 Tabella 1: Ricezione ottocentesca della Faniska p. 34 2 – Tra esotismo e identificazione. Il ruolo della tematica polacca in Lodoïska e Faniska di Cherubini — Alle origini di Lodoïska: la funzione delle vicende polacche ne Les p. 36 Amours du chevalier de Faublas — L'immagine della Polonia in Francia dal XVI al XVIII secolo p. 43 — Da Lodoïska a Faniska: un rapporto di (in)diretta filiazione p. 50 — Manifestazione delle tematiche polacche in Lodoïska e Les Mines de p. 56 Pologne/Faniska Tabella 2: Stereotipi polacchi in Lodoïska, Les Mines de Pologne e p. 68 Faniska 3 – «Nach dem Französischen von Sonnleithner». Questioni storico- filologiche per un’edizione critica della Faniska di Luigi Cherubini — Vienna, 1795-1806: dall’istituzione della compagnia tedesca alla p. 76 chiusura della compagnia italiana degli Hoftheater — Commissione e genesi della Faniska: per una lettura dello stato delle p. 86 fonti Tabella 3: Fonti della Faniska per l’edizione critica p. 88 Tabella 4: Struttura della Faniska (versione italiana) p. 97 — «Nach dem Französischen von Sonnleithner»: il problema delle p. 101 versioni linguistiche Tabella 5: Da Les Mines de Pologne a Faniska – traduzioni a p. 112 confronto 2 4 – Per un’edizione critica della Faniska — Il progetto d’edizione della partitura: problematiche e scelte p. 122 metodologiche — L’edizione critica del libretto p. 127 — Norme editoriali p. 129 Partitura p. 130 Libretto p. 131 Libretto: edizione sinottica delle tre versioni linguistiche — Frontespizio p. 133 — Atto I p. 134 — Atto II p. 165 — Atto III p. 200 Apparato critico p. 226 Appendice iconografica p. 238 Bibliografia — Fonti Fonti musicali p. 262 Fonti letterarie p. 263 — Letteratura secondaria Luigi Cherubini: biografia e opere p. 264 Faniska p. 265 Les Amours du Chevalier de Faublas p. 266 Le Mines de Pologne p. 267 Contesto storico-culturale p. 267 Rivoluzione francese p. 269 Questioni drammaturgico-musicali p. 270 Tematiche polacche p. 271 Polonaise p. 272 3 Indice delle immagini Figura 1 Luigi CHERUBINI, Faniska. Autografo della partitura, versione italiana, Berlino, p. 7 Staatsbibliothek – Preußischer Kulturbesitz, Musikabteilung, Mus. ms. autogr. Cherubini, L. 138, frontespizio. Figura 2 «Le Pollognoys», in: François DESERPS, Illustrations de Recueil de la diversité des p. 35 habits qui sont de présent usage tant es pays d’Europe, Asie, Afrique et isles sauvages. Parigi, R. Breton, 1567, p. 20. Figura 3 Locandina della prima rappresentazione della Faniska: Vienna, Hoftheater, 25 p. 75 febbraio 1806 (particolare). Figura 4 Joseph SONNLEITHNER, Faniska. Eine große Oper in drei Akten. Vienna, Pichler, p. 121 1806, frontespizio. Figura 5 Karl Friedrich SCHINKEL, schizzo per la scenografia del III Atto di Faniska (1818). p. 237 Staatliche Museen zu Berlin, Kupferstichkabinett, SM Th.2 = SM B.25 (alt). Figura 6 Jean-Baptiste LOUVET DE COUVRAY, Une année de la vie du Chevalier de Faublas, p. 239 frontespizio della prima edizione (1797). Figura 7 F. CAMPION, Le festin nuptial du Roy et de la Reine de Pologne. - La magnifique p. 240 entrée des Ambassadeurs Polonois dans la ville de Paris le 19 septembre. Parigi, À P. chez N. Berey au bout du Pont Neuf proche les Augustins, 1645. Figura 8 DELANAUX, Kosciuszko. Parigi, Quenedey, [1793ca]. p. 241 Figura 9 Henri-Louis COIFFIER DE VERFEU, Ouliana, ou l’Enfant des bois, nouvelle polonaise p. 242 et autres nouvelles, Parigi, Cordier et Legras, 1801, frontespizio. Figura 10 «Vue générale de la mine de sel de Wieliczka en Pologne près Cracovie», in: Denis p. 243 DIDEROT, D'ALEMBERT, Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers, Parigi, Briasson, 1751-1780, vol XXIII. planche VII. Figura 11 Charles Guilbert de PIXÉRÉCOURT, Les Mines de Pologne. Mélodrame en trois actes, p. 244 en prose, et a grand spectacle. Parigi, Barba, 1803, frontespizio. Figura 12 Żupan e kontusz, seconda metà del XVIII sec. Collezione Wojciech Kolasiński, p. 245 Museo Nazionale di Varsavia, Inv. Szt. 2813, 2815. Figura 13 «Dame polonaise dans l’ancien costume», in: Jean-Pierre NORBLIN DE LA p. 246 GOURDAINE, Philibert Louis DEBUCOURT, Collection de costumes polonais, dessinés par nature par Norblin et gravés par Debucourt, Parigi, Charles Bance, 1817, tavola 30. Figura 14 «Seigneur polonais dans l’ancien constume», in: Jean-Pierre NORBLIN DE LA p. 247 GOURDAINE, Philibert Louis DEBUCOURT, Collection de costumes polonais, dessinés par nature par Norblin et gravés par Debucourt, Parigi, Charles Bance, 1817, tavola 31. Figura 15 Ignazio DEGOTTI, schizzo per la scenografia del I Atto di Lodoïska (1791). p. 248 Bibliothèque Nationale de France, département Bibliothèque-musée de l'opéra, BMO ESQ 19-235. 4 Figura 16 Ignazio DEGOTTI François VERLY, schizzo per la scenografia del II Atto di Lodoïska p. 249 (1791). Bibliothèque Nationale de France, département Bibliothèque-musée de l'opéra, BMO ESQUISSES ANCIENNES-7 (2). Figura 17 «Polonaise», in: Luigi CHERUBINI, Lodoïska. Comédie héroïque en trois actes par le p. 250 C.en Fillette-Loraux, Parigi, H. Naderman, [1792], pp. 119-120. Figura 18 Locandina degli Hoftheater con traduzione in francese dei titoli; Vienna, 17 p. 251 novembre 1805. Figura 19 Elenco dei cantanti italiani e tedeschi in servizio presso gli Hoftheater; Wiener Hof- p. 252 Theater Taschenbuch auf das Jahr 1806. Vienna, Schalbacher, 1806, frontespizio, pp. 15-16. do Figura 20 Luigi CHERUBINI, Aria di Rasinski nel 2 Atto di Faniska. Autografo con dedica a p. 253 Joseph Simoni, Vienna, Österreichische Nationalbibliothek, Musiksammlung, Mus. Hs. 16266, p. 1. Figura 21 Luigi CHERUBINI, Faniska. Autografo di alcuni numeri della partitura, versione p. 254 francese, Berlino, Staatsbibliothek – Preußischer Kulturbesitz, Musikabteilung, Mus. ms. autogr. Cherubini, L. 349, p. 1. Figura 22 Luigi CHERUBINI, Faniska. Autografo della partitura, versione italiana, Berlino, p. 255 Staatsbibliothek – Preußischer Kulturbesitz, Musikabteilung, Mus. ms. autogr. Cherubini, L. 138, p. 190. Figura 23 Luigi CHERUBINI, Faniska (italienisch und deutsch). Eine Oper in drei Akten. p. 256 Riduzione per canto e piano a cura di Gottlob Benedict Bierey, Lipsia, Breitkopf & Härtel, [1806], p. 33, particolare. Figura 24 Luigi CHERUBINI, Faniska (italienisch und deutsch). Eine Oper in drei Akten. p. 257 Riduzione per canto e piano a cura di Gottlob Benedict Bierey, Lipsia, Breitkopf & Härtel, [1806], frontespizio. Figura 25 Luigi CHERUBINI, Faniska. Opéra en trois Actes. Représenté à Vienne le 25 Fevrier p. 258 1806. Paroles Italiennes. Lipsia, Breitkopf & Härtel, [1845], frontespizio. Figura 26 Luigi CHERUBINI, Faniska. Autografo della partitura, versione italiana, Berlino, p. 259 Staatsbibliothek – Preußischer Kulturbesitz, Musikabteilung, Mus. ms. autogr. Cherubini, L. 138, p. 397, particolare. Figura 27 Luigi CHERUBINI, Faniska. Autografo della partitura, versione italiana, Berlino, p. 260 Staatsbibliothek – Preußischer Kulturbesitz, Musikabteilung, Mus. ms. autogr. Cherubini, L. 138, p. 217. Figura 28 Joseph SONNLEITHNER, Faniska. Copia manoscritta del libretto con annotazioni, p. 261 Vienna, Österreichische Nationalbibliothek, Musiksammlung, A-Wn, Mus. Hs. 32534 Mus, c. 3r. 5 Ringraziamenti Il progetto all’origine del presente lavoro mosse i suoi primi passi sotto la generosa guida di Giovanni Morelli, il quale avrebbe dovuto seguirne gli sviluppi come tutor se non ci avesse lasciati all’inizio stesso del mio percorso dottorale: a lui, per il suo intero magistero, va la mia massima riconoscenza, mentre sono grata a Paolo Pinamonti per la sua sollecitudine nel raccoglierne il compito e per avermi seguita in questi anni con attenzione e pazienza. Ringrazio inoltre l’intero collegio docenti del corso di dottorato in Storia delle Arti, in particolare nella persona del coordinatore Giuseppe Barbieri, per l’aiuto prestatomi nelle difficoltà che ho incontrate sul mio cammino, nonché per l’ascolto e la disponibilità alla discussione riguardo alle mie tematiche di ricerca, da cui ho ricevuto indicazioni e stimoli fecondi. Le ricerche svolte per la scrittura di queste pagine sono state rese possibili grazie alla pronta collaborazione del personale delle seguenti biblioteche ed archivi, a cui va la mia gratitudine: Bibliothèque Nationale de France di Parigi; Biblioteka Narodowa di Varsavia, Conservatorio di Musica “Luigi Cherubini” di Firenze; Lobkowicz Collections di Praga (Music Archive); Österreichische Nationalbibliothek di Vienna (Musiksammlung e Theatermuseum); Staatsbibliothek – Preußischer Kulturbesitz di Berlino (Musikabteilung). L’edizione critica della Faniska di Luigi Cherubini, di cui discuterò il progetto nelle pagine seguenti, sarà accolta all’interno della Cherubini-Werkausgabe pubblicata presso la Simrock di Berlino; ringrazio per la fiducia e l’appoggio il comitato scientifico della collana, in particolare la direttrice Helen Geyer e
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