Il Ritorno D'ulisse in Patria De Monteverdi Sir John Eliot Gardiner

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Il Ritorno D'ulisse in Patria De Monteverdi Sir John Eliot Gardiner Il ritorno d'Ulisse in patria de Monteverdi Sir John Eliot Gardiner DIMECRES, 3 DE MAIG DE 2017 – 20.30 h Sala de Concerts Furio Zanasi, Ulisse Lucile Richardot, Penelope Krystian Adam, Telemaco Hana Blažíková, Minerva / Fortuna Gianluca Buratto, Tempo / Nettuno / Antinoo Michal Czerniawski, Pisandro Gareth Treseder, Anfinomo Zachary Wilder, Eurimaco Anna Dennis, Melanto John Taylor Ward, Giove Francesca Boncompagni, Giunone Robert Burt, Iro Francisco Fernández-Rueda, Eumete Carlo Vistoli, Umana Fragilità Silvia Frigato, Amore Francesca Biliotti, Ericlea Monteverdi Choir English Baroque Soloists Sir John Eliot Gardiner, director Elsa Rooke, codirectora Rick Fisher, dissenyador de llums Patricia Hofstede, vestuari C. Monteverdi (1567-1643): Il ritorno d’Ulisse in patria (Concert escenificat) Durada del concert: 200 minuts més pausa Tots sou part del Palau Gràcies! Mecenes Protectors Mecenes d’Honor Media Partners Col·laboradors Aena — Aenor — Armand Basi — Autoritat Portuària de Barcelona — Bagués-Masriera Joiers — Coca-Cola — Col·legi d’Enginyers de Camins, Canals i Ports — Col·legi de Farmacèutics de Barcelona — Deloitte — Esteve — Fundació Antigues Caixes Catalanes - BBVA CX — Fundació Castell de Peralada — Fundació Metalquimia — Helvetia Compañía Suiza S.A. de Seguros y Reaseguros. — Hoteles Catalonia — La Fageda — Loteria de Catalunya — Plusfresc — Quadis — Roca Junyent, S.L.P. — Saba Infraestructures, S.A. — Serunion Amics Benefactors Ascensores Jordà, S.A. — Inclos Interiorisme, S.L. — Eurofirms ETT S.L.U. — Fundació Antoni Serra Santamans — Teatre Romea — Veolia Serveis Catalunya S.A.U. El retorn d’Ulisses Pel Carnaval de l’any 1637 a Venècia irromp la nova moda de les L’Ulisses de Monteverdi esdevé un graó més en el camí cap a l’arribada i futura representacions teatrals completament cantades. Va ser arran de la inauguració consolidació del bel canto. Aquest tret es percep especialment, no encara en del nou Teatro de San Casiano amb la interpretació de l’òpera Andromeda l’ús de l’ària, sinó en la tècnica de l’anomenat arioso, que apareix en situacions d’Antonio Manelli. Després del seu naixement a Florència, Màntua, etc., dramàtiques més lleugeres, com les d'amor o les festives, que sovint fan ús de aquest nou espectacle arriba amb molta empenta a la Ciutat dels Canals. virtuosisme vocal i que contrasta amb els amplis passatges de recitatius escrits Aquesta vegada la novetat era que l’òpera esdevenia un espectacle públic. Qui encara en l’estil primerenc. paga, hi entra! El mateix compositor Manelli inaugurava el 1638 el Teatro San Giovanni e Paolo amb l’òpera La Dèlia, mentre que un deixeble de Monteverdi, El fet que aquesta òpera s’interpretés moltes vegades, tant a Venècia com en Francesco Cavalli, assolia en paral·lel els seus primers èxits al San Casiano. En altres teatres italians, ens fa pensar que som davant d’una òpera veritablement aquest context, Monteverdi, aleshores veterà mestre de capella de la basílica de exitosa del moment. Sant Marc, té l’oportunitat de desempolsinar la seva òpera Arianna, estrenada trenta anys abans a Màntua. Durant el Carnaval del 1640 va servir per inaugurar un tercer teatre públic, el San Mosé, reconvertit també en espai per a teatre cantat. Aquell va ser el detonant del retorn de Monteverdi a l’òpera. Una singladura que havia començat a la cort de Màntua el febrer de 1607 amb L’Orfeo. Va seguir l’any següent amb l’esmentada Arianna, òpera de la qual només conservem l’antològic lament. En els temps de Màntua ja s’havien interpretat altres obres de caràcter escènic, però de dimensions molt menors, com ara els ballets semidramàtics Il ballo delle ingrate (1608) o Tirsi e Clori (1616), publicats respectivament en els llibres vuitè i setè de Madrigals. El 1613 Monteverdi havia començat la seva singladura professional com a mestre de capella a la basílica veneciana de Sant Marc. En paral·lel, la primera obra escènica que hi va interpretar va ser Il combattimento di Tancredi e Clorinda, al Palau Mocenigo pel Carnaval del 1624. Després de l’esmentada recuperació d’Arianna va arribar l’estrena absoluta de l’òpera que avui ens ocupa. Il ritorno d’Ulisse in patria sua es basa en els últims moments de l’Odissea d’Homer, en què es narra el retorn d’Ulisses a Ítaca, la derrota dels pretendents instal·lats al palau de Penèlope en la prova de l’encordament del seu propi arc i el consegüent retrobament de l’heroi de Troia amb la seva fidel esposa. Aquesta òpera va plantejar alguns dubtes quant a autoria, abans i després de la primera publicació moderna de la partitura el 1922. També algunes anàlisis musicals i musicològiques havien deixat aquesta pàgina com una obra menor comparada amb L’incoronazione di Poppea, en bona mesura a causa del llibret una mica irregular de Giacomo Badoaro (1602-1654), en venecià Iacopo Badoer, que va ser membre de la veneciana Accademia degli Incogniti. Pel que fa a l’autoria, actualment ja disposem de diversos documents d’època, com una carta del mateix compositor i d’altres del llibretista Badoaro, en què es referma la seva autoria de forma definitiva. Joan Vives, músic i divulgador musical Biografies Furio Zanasi Baríton Lucile Richardot Mezzosoprano Va començar la seva activitat musical com a apassionat Va començar a cantar als 11 anys en un cor infantil de la música antiga amb un repertori que va del a l’Est de França, però fins als 27 es va dedicar madrigal a les cantates, de l’oratori a l’òpera barroca. professionalment com a periodista. Graduat el 2008 per la Maîtrise de Notre-Dame de París i el 2011 Ha actuat als principals teatres d’òpera i als festivals en música antiga pel Conservatoire à Rayonnement més prestigiosos d’Itàlia, així com també per tot Régional de París, entre els seus professors figuren Europa, els Estats Units i el Japó, cantant sota la batuta Margreet Hoenig, Noëlle Barker, Paul Esswood, de directors de renom. Howard Crook, Jan van Elsacker, Martin Isepp, François Le Roux, Monique Zanetti i Jill Feldman. Ha cantat L’Orfeo de Monteverdi per al segell Naive, El 2012 va fundar amb dos amics el seu propi grup: així com també de gira i en una nova producció a Tictactus. la Den Norske Opera d’Oslo. Així mateix, Il ritorno d’Ulisse in patria a La Scala a Milà, on ha participat en Treballa tant la música antiga com el repertori la Trilogia de Monteverdi, sota la direcció de Robert contemporani, i tant en representacions com en Wilson. concerts, amb Les Solistes XXI (director Rachid Safir), Correspondances (Sébastien Daucé), Pygmalion Ha enregistrat per a les principals ràdios europees i (Raphaël Pichon), Le Poème Harmonique (Vincent en més d’una seixantena de CD per a diversos segells Dumestre) i des de l’any 2012 amb Les Arts discogràfics. Florissants amb la integral dels llibres de Madrigals de Monteverdi, sota la direcció de Paul Agnew, que la va convidar a la Passió segons sant Joan de Bach amb la Liverpool Philharmonic Orchestra. El 2009 va interpretar el rol de primera tieta de l’òpera de Boesmans Yvonne, princesse de Bourgogne, a l’Opéra Garnier de París i al Theater an der Wien. A la darreria del 2014, el Grup Intercontemporain la convidà per a l’Omaggio a Kurtag de Luigi Nono, al Festival de Tardor de París, juntament amb el violista Christophe Desjardins i el compositor Gérard Pesson. El 2017 actuarà com a Lisea d’Arsilda, òpera de Vivaldi, a la República Txeca i per tot Europa amb el Collegium 1704. Biografies Krystian Adam Tenor Hana Blažíková Soprano Gianluca Buratto Baix Michal Czerniawski Contratenor Molt reclamat per al repertori dels segles XVII-XVIII, Nascuda a Praga, va cantar al cor infantil Radost Praha S’està reafirmant com un dels baixos més versàtils Va estudiar cant a la Music Academy a Gdansk i a la treballa habitualment amb molts dels directors més i tocava el violí. Més tard va dedicar-se al cant. El 2002 de la seva generació. Amb una veu noble i rodona, Guildhall School of Music and Drama de Londres. importants de la pràctica informada històricament, es graduà al Conservatori de Praga amb Jiří Kotouč, ha participat recentment en la Missa en Si menor de Ha treballat intensament amb William Christie (gira com ara John Eliot Gardiner, Giovanni Antonini, estudis que amplià amb Poppy Holden, Peter Kooij, Bach, amb Jordi Savall a Madrid i Barcelona; Betulia mundial de Le Jardin des Voix, trentè aniversari de Les Jean-Christophe Spinosi, Teodor Currentzis, Stefano Monika Mauch i Howard Crook. liberata de Mozart i Jommelli, amb Riccardo Muti Arts Florissants a l’Opéra Comique), Masaaki Suzuki i Montanari, Andreas Spering, Werner Ehrhardt, a Salzburg, Ravenna i Breslau; Passió de sant Joan Mark Padmore (Aldeburgh Music). Rinaldo Alessandrini, Vaclav Luks, Fabio Biondi i Actualment, especialitzada en interpretació de de Bach, amb López-Banzo a Espanya i Alemanya; Fabio Bonizzoni, entre d’altres. música barroca, renaixentista i medieval, actua Macbeth al Festival de Salzburg, Roma i Chicago, i El seu repertori de concerts inclou oratoris de Händel, per tot el món amb Collegium Vocale Gent, Bach amb Riccardo Muti a La Scala de Milà; Le nozze di El Messies i el rol de Salomó (Solomon’s Knot), així Després d’assistir a la primera Accademia Collegium Japan, Sette Voci, Amsterdam Baroque Figaro, amb Rousset a Barcelona; La bohème, amb com l’Stabat Mater de Pergolesi (Òpera de Cambra de Monteverdiana a Castiglioncello, va ser Orfeo de Orchestra, L’Arpeggiata, Gli Angeli Genève, La Riccardo Chailly, i I due Foscari a València; Mysterium Cracòvia), Salve Regina (London Handel Festival), Il L’Orfeo de Monteverdi i les Vespres, sota la direcció de Fenice, Nederlandse Bachvereniging, Tafelmusik, de Rota, amb l’Orchestra Verdi a Ciutat del Vaticà, primo omicidio d’Scarlatti (Wratislavia Cantans).
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