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Spraakmakende Opera De Populariteit Van La Muette De Portici in De Amsterdamse Stadsschouwburg in De Negentiende Eeuw

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Spraakmakende Opera De Populariteit Van La Muette De Portici in De Amsterdamse Stadsschouwburg in De Negentiende Eeuw Spraakmakende opera De populariteit van La Muette de Portici in de Amsterdamse Stadsschouwburg in de negentiende eeuw Masterscriptie Dramaturgie Jan Vos Amsterdam Kunst- en Cultuurwetenschappen: Dramaturgie Faculteit der Geesteswetenschappen Universiteit van Amsterdam Studentnummer: 11094192 1e begeleider: dr. R.G.C. van der Zalm 2e begeleider: dr. H. Ruitenbeek 2017-2018 Inhoud 1. Inleiding 4 Status Quaestionis 4 Probleemstelling en onderzoeksvraag 6 Methode en theorie 8 Hoofdstukindeling 9 2. Context: revolutie en grand opéra 10 Historische context 10 Social-politieke situatie Europa 10 Culturele situatie Europa 11 Grand opéra 11 Ontstaan van het genre 11 Inhoud 13 Mise-en-scène 14 Muziek 16 Dramatische structuur 17 Ontwikkeling 17 3. Analyse: de compositie van La Muette 20 Libretto 20 Vormkenmerken, plot, personages en de rol van het koor 23 Mise-en-scène 26 Muziek 32 Conclusie 35 4. Kwantitatieve analyse: opvoeringsgeschiedenis van La Muette 36 Van wereldpremière tot Amsterdam 36 Parijs 36 Brussel 37 Amsterdam 38 Kwantitatieve analyse en ONSTAGE 39 Toneelmatige aspecten 40 Genre 40 Overige dramatische aspecten 43 Scenische aspecten 44 Contextuele aspecten 45 Schouwburgbestuur en censuur 45 Schouwburgbestuur, opera en La Muette de Portici 47 Overige contextuele aspecten 50 Conclusie 52 2 5. Kwalitatieve analyse: lof voor La Muette 53 Libretto 54 Muziek 55 Mise-en-scène 56 Tussenspelen gedurende de negentiende eeuw 59 Vooruitblik naar de twintigste eeuw 60 Conclusie 62 6. Conclusie 63 Bibliografie 68 Primaire bronnen: dramateksten 68 Primaire bronnen: programma’s en recensies 69 Secundaire literatuur 69 Bijlagen 73 3 1. Inleiding “Soldaat van Oranje – De Musical verwacht woensdag 22 november zijn 2,5 miljoenste bezoeker. De allereerste voorstelling werd op 10 oktober 2010 gespeeld in de TheaterHangaar in Katwijk en eind oktober jongstleden vierde de productie zijn zevenjarig bestaan.”1 Hoewel op Broadway in New York The Phantom of the Opera het negenentwintigste speeljaar ingaat en op West End in Londen Les Misérables al tweeëndertig jaar op de planken staat, is Soldaat van Oranje met tot nu toe zeven speeljaren de langstlopende musical van Nederland.2 De musical staat bekend om het draaiplateau waarop het publiek plaatsneemt en om de speciale effecten zoals een vliegtuig dat de zaal binnenrijdt. In zijn recensie op 1 november 2010 liet Henk van Gelder in het NRC weten: “Theatertechnisch is dit een verbluffende productie.”3 Bijna tweehonderd jaar eerder speelde een stuk in Nederland dat doet denken aan dit succes: La Muette de Portici. Eugène Scribe schreef het libretto en Daniel Auber was verantwoordelijk voor de muziek van de opera, die in de Opéra de Paris op 29 februari 1828 in première ging. De opera had een decor dat voor die tijd evenveel indruk maakte als dat van Soldaat van Oranje nu doet en draait net als Les Misérables om opstand en verzet tegen vreemde overheersing. Bovendien zou een opvoering van La Muette mede de oorzaak zijn geweest van de rellen die patriottistische Belgische toeschouwers veroorzaakten toen de opera werd opgevoerd in de Muntschouwburg te Brussel op 25 augustus 1830. Deze rellen leidden uiteindelijk tot de onafhankelijkheid van België.4 De opera speelde in Brussel nog in 1930 en in 1944 om de bevrijding van Brussel te markeren. Daarna speelde het stuk er niet meer. Zelfs afgelopen jaren is de opera niet meer in Brussel opgevoerd vanwege het gevaar voor het politieke klimaat.5 De nog steeds heersende spanning tussen Vlaanderen en Wallonië is mede de oorzaak hiervoor. Wie afgelopen decennia in Nederland een opvoering wilde bezoeken, werd eveneens teleurgesteld. En dat terwijl deze opera na de Gijsbrecht van Aemstel het meest gespeelde stuk was in de Amsterdamse Stadsschouwburg in de eerste helft van de negentiende eeuw.6 Waarom was die verre neef van spectaculaire musicals, die nu zo gevreesde opera, toen zo geliefd? Status Quaestionis Ik richt me in dit onderzoek op de opvoeringen van deze opera in de Amsterdamse Stadsschouwburg tussen 1829 en 1890. Ik houd me dus bezig met de Nederlandse theatergeschiedenis van de negentiende eeuw. Door de tijd heen is meermaals over deze 1 “2,5 miljoen bezoekers voor Soldaat van Oranje – De Musical,” Soldaat van Oranje, geraadpleegd op 19-12- 2017, https://www.soldaatvanoranje.nl/de_musical/nieuws/2_5_miljoen_bezoekers/238 2 Maxim Bezembinder, et al., De musical. Het boek (Den Haag: d’jonge Hond, 2010), 133, 136. 3 Geciteerd in “Het onwaarcshijnlijke succes van ‘Soldaat van Oranje’,” NRC, 23-09-2013, geraadpleegd op 19- 12-2017, https://www.nrc.nl/nieuws/2013/09/23/het-onwaarschijnlijke-succes-van-soldaat-van-oranje-1297231- a864481 4 Tom Verschaffel, “Brussel. 25 augustus 1830. Tumult in de Muntschouwburg bij De stomme van Portici. De zangexplosie rondom de Belgische Revolutie,” Een muziekgeschiedenis der Nederlanden, redactie onder Louis Peter Grijp, Ignace Bossuyt, Aggie Langedijk, et al. (Amsterdam: Amsterdam University Press, 2001), 409-411. 5 Birgit Donker, “Opera die België vormde, is nu bedreigend,” NRC, 18-08-2011, geraadpleegd op 19-12-2017. https://www.nrc.nl/nieuws/2011/08/18/opera-die-belgie-vormde-is-nu-bedreigend-12030884-a924010 6 Henny Ruitenbeek, Kijkcijfers: de Amsterdamse Schouwburg 1814-1841 (Hilversum: Verloren, 2002), 235. 4 periode geschreven door theaterwetenschappers en -historici. Van de negentiende eeuw tot de jaren 1970 geven zij veelal dezelfde pejoratieve beschrijving van deze periode: Duitse en Franse melodrama’s en spektakelstukken voerden de boventoon, voor voornamelijk het lager opgeleide publiek.7 Benjamin Hunningher noemt zijn hoofdstuk over deze periode de “chaos der comedianten”.8 Ben Albach spreekt over het “‘draken’-toneel der 19e eeuw”, waarin August von Kotzebue, August Iffland en Guilbert de Pixérécourt de populairste auteurs waren, “van typisch romantische ‘melodrama’s’, het soort toneel dat de kunstcritici tot felle verontwaardiging bracht, maar dat de gehele 19e eeuw door het repertoire heeft beheerst.”9 Wetenschappelijk onderzoek naar theater richtte zich in de eerste helft van de twintigste eeuw voornamelijk op de dramatekst, vanuit een literatuurwetenschappelijke houding. Veel negentiende-eeuws theater werd in deze periode nog beoordeeld als minderwaardig, omdat het veelal gezien werd als minder literair en meer emotioneel en visueel.10 Langzaam veranderde de focus van tekst naar opvoeringspraktijken.11 Vanaf de jaren 1970 concentreert het theaterhistoriografisch onderzoek zich ook op de contextuele aspecten van het drama en de voorstelling, met aandacht voor onder andere receptie, communicatie, cultuurgeschiedenis en kunstbeleid.12 De afgelopen jaren heeft het Nederlandse theater van de vroeg-negentiende eeuw meer belangstelling gekregen.13 Zo is er oog geweest voor onder andere kwantitatief onderzoek en nationaal theater. In haar proefschrift Kijkcijfers: de Amsterdamse Schouwburg 1814-1841 (2002) onderzocht Henny Ruitenbeek onder andere middels haar reconstructie van het repertoire welke voorstellingen er aangeboden werden, door wie ze bezocht werden, welke succesvol waren, en welke elementen van contextuele, dramatische of scenische aard het toneelbezoek beïnvloedden.14 Zij schrijft: “Theaterwetenschap dankt haar bestaansrecht aan de voorstelling, maar de beschrijving en analyse daarvan is, hoe belangwekkend ook, mijns inziens niet voldoende om te weten te komen welke plaats het theater in de maatschappij bekleedde. Om de functie van het toneel voor verschillende groepen toeschouwers te achterhalen, is naar mijn mening onderzoek naar de sociaal- en politiek-maatschappelijke context onmisbaar.”15 7 Ben Albach, Helden draken en comedianten: het Nederlandse toneelleven voor in en na de Franse tijd, (Amsterdam: Uitgeversmaatschappij Holland, 1956), 18-23, 160, 162, 164-165; Ben Albach, Duizend jaar toneel in Nederland (Bussum: Van Dishoek, 1965), 61; Benjamin Hunningher, Het dramatische werk van Schimmel in verband met het Amsterdamsche tooneelleven in de negentiende eeuw (Amsterdam: Paris, 1931), 2- 3, 54; Benjamin Hunningher, Een eeuw Nederlands toneel (Amsterdam: Querido, 1949), 12-14; Hans H. J. de Leeuwe, “De geschiedenis van het Amsterdamsch tooneel in de negentiende eeuw (1795-1925).” Zeven eeuwen Amsterdam, ed. A.E. d’Ailly, deel 5 (Amsterdam, 1948), z.p.; Heinz Kindermann, “Das romantische Theater in den Niederlanden,” Theatergeschichte Europas, ed. Heinz Kindermann, deel 6, Romantik (Salzburg: Müller, 1957-1974), 197. Jacob A. Worp, Geschiedenis van het drama en het tooneel in Nederland, deel 2 (Rotterdam: Langerveld, 1970), 375-376. 8 Hunningher, Een eeuw Nederlands toneel, 7. 9 Albach, Helden draken en comedianten, 18. 10 Ruitenbeek, Kijkcijfers, 14. 11 Viktoria Tkaczyk en Sylvia Alting van Geusau, “Benjamin Hunningher en de oprichting van het Instituut voor Dramaturgie,” Theaterwetenschap aan de Amstel. Vijftig jaar onderwijs en onderzoek aan de Universiteit van Amsterdam, redactie onder Sylvia Alting van Geusau, Peter Eversmann, Rob van der Zalm (Amsterdam University Press, 2014), 12-15. 12 Ruitenbeek, Kijkcijfers, 17. 13 Lotte Jensen, De verheerlijking van het verleden: helden, literatuur en natievorming in de negentiende eeuw (Nijmegen: Vantilt, 2008), 131, 242. 14 Ruitenbeek, Kijkcijfers, 18, 36. 15 Ruitenbeek, Kijkcijfers, 357. 5 Ook heeft Ruitenbeek meermaals geschreven over origineel Nederlandse toneelproductie in de eerste helft van de negentiende eeuw met een vaderlandslievend karakter.16 Lotte Jensen schreef eveneens over dit onderwerp.17 Jensen merkt op dat hedendaagse inhoudelijke
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