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La Grand Opéra Francesa (1830-1849)

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ÓPERA LAS VOCES DEL ROMANTICISMO OLVIDADO LA GRAND OPÉRA FRANCESA (1830-1849) La Revolución de julio de 1830 convirtió a París en la capital del Romanticismo europeo. La monarquía parlamentaria de Luis Felipe de Orleans liquidaba de forma irreversible el Antiguo Régimen en Francia y hacía de su capital el refugio europeo de las libertades por cuyas calles y salones desfi laban artistas de todas las naciones como Delacroix o Daumier en la pintura, Stendhal, Hugo o Balzac en la literatura, y Liszt, Chopin o Bellini en la música. El presente artículo recoge el testigo de los ya publicados acerca de las tipologías vocales masculinas y femeninas del siglo XIX para acercarnos a ellas a través de este periodo fundamental. Textos: Rafael Fernández de Larrinoa ste París bullicioso y de vida ale- DE LULLY A MEYERBEER tal de El cazador furtivo weberiano, título gre –que Puccini idealizaría dé- admirado en 1824 por el público parisino Ecadas después en su inmortal La gran ópera se originó a partir de los en una curiosa adaptación titulada Robin La bohème– pero desgarrado por el incre- rescoldos de la tragedia lírica. De este ve- de los bosques. Esta ansiada síntesis se alcan- mento de las desigualdades sociales deri- tusto género –fundado por Lully allá en la zó poco después con tres títulos que alcan- vadas de la industrialización, se convirtió década de 1670, modernizado por Rameau zaron un éxito sin precedentes: La mudita en la capital del arte y en el centro ope- en torno a 1730, reformado por Gluck ha- de Portici (1828) de Auber, Guillermo Tell rístico más infl uyente de Europa gracias cia 1770, y restaurado momentáneamente (1829) de Rossini y Roberto el diablo (1831) a una variada oferta de géneros, seguida por Spontini en el periodo napoleónico–, de Meyerbeer. por un nutrido público hambriento de la gran ópera heredó el gran formato (en El primero –cuyo argumento trata acer- novedades y atento a las distintas modas cuatro o, preferentemente, cinco actos), el ca de la sublevación napolitana contra la y corrientes difundidas a través de una asunto serio (mitológico en origen, histó- dominación española de 1647 liderada tupida red de teatros: por un lado estaba rico en los nuevos tiempos), la suntuosidad por el pescador Masaniello– fundió dos la Opèra-Comique, consagrada al géne- escenográfi ca, los ballets y las escenas cora- elementos hasta entonces insolubles: el fi - ro homónimo (en uno a tres actos y con les. Prefi gurado durante la década de 1820 nal trágico propio de los asuntos elevados diálogos intercalados), en la que reinaban por diversas obras rossinianas estrenadas con un escenario histórico que permitía la los genios de Auber y Adam; por otro, el en París (como Le siège de Corinthe de 1826 identifi cación del público con personajes Th éâtre des Italiens, consagrado a la ópe- o Moïse et Pharaon de 1827, en realidad de diversa extracción social. Según las pa- ra italiana y donde brillaban los astros de adaptaciones de obras italianas preexisten- labras de Edouard Monnier “con La mudi- Bellini y Donizetti; y fi nalmente la Aca- tes), el género encontró su forma defi niti- ta, el drama se abrió a todo tipo de temas: démie Royale de Musique, o simplemente va cuando logró aunar –en opinión de los grandes y pequeños, tristes y alegres, […] Ópera de París, sede ofi cial del género coetáneos– lo mejor de los estilos italiano con Masaniello, la gente común invadió más grandioso e infl uyente entre todos: la y alemán: la emoción y belleza del canto un dominio antes reservado a pontífi ces y gran ópera en cuatro o cinco actos. rossiniano, y la riqueza armónica y orques- reyes, ninfas y princesas”. El impacto 72 ı Audio Clásica CRONOLOGÍA DE LA GRAND OPÉRA EN FRANCIA 1804 Napoleón Bonaparte 1830 Revolución de Julio. Instauración 1851 Golpe de estado 1881/82 Leyes Jules Ferry se proclama emperador de Francia de la monarquía parlamentaria de Luis Napoleón Bonaparte por la educación laica 1814 Restauración 1848 Revolución de 1848 1870 Derrota francesa en Sedán 1894 Estalla de la monarquía absoluta e instauración de la II República e instauración de la III República el affaire Dreyfus 1800 1810 1820 1830 1840 1850 1860 1870 1880 1890 Napoleón I Luis XVIII Carlos X Luis-Felipe I Napoleón III I R. II R. III REPÚBLICA I IMPERIO RESTAURACIÓN MONARQUIA DE JULIO II IMPERIO PRECURSORAS I EDAD DE ORO II EDAD DE ORO DECLIVE 1807 – Spontini: La Vestale 1831 – Meyerbeer: Robert le diable 1850 – Auber: L’enfant prodigue 1877 – Massenet: Le roi de Lahore 1809 – Spontini: Fernand Cortez 1833 – Auber: Gustave III 1851 – Gounod: Sapho 1878 – Gounod: Polyeucte 1813 – Cherubini: Les Abéncerages 1835 – Halévy: La juive 1852 – Halévy: Le Juïf errant 1880 – Verdi: Aïda 1819 – Spontini: Olimpie 1836 – Meyerbeer: Les huguenots 1854 – Gounod: La Nonne sanglante 1881 – Gounod: Le tribut de Zamora 1826 – Rossini: Le siège de Corinthe 1838 – Halévy: Guido et Ginèvre 1855 – Verdi: Les vêpres siciliennes 1882 – Thomas: Françoise de Rimini 1827 – Chelard: Macbeth 1839 – Auber: Le lac des Fées 1857 – Verdi: Le trouvère 1883 – Saint-Saëns: Henry VIII 1827 – Rossini: Moïse et Pharaon 1840 – Donizetti: Les martyrs 1858 – Halévy: La Magicienne 1884 – Reyer: Sigurd 1828 – Auber: La muette de Portici 1840 – Donizetti: La Favorite 1859 – David: Herculanum 1885 – Massenet: Le Cid 1829 – Rossini: Guillaume Tell 1841 – Halévy: La reine de Chypre 1862 – Gounod: La reine de Saba 1886 – Paladilhe: Patrie! 1843 – Halévy: Charles VI 1865 – Meyerbeer: L’Africaine 1890 – Saint-Saëns: Ascanio 1843 – Donizetti: Dom Sébastien 1867 – Verdi: Don Carlos 1893 – Massenet: Thaïs 1847 – Verdi: Jérusalem 1868 – Thomas: Hamlet 1894 – Saint-Saëns: Frédégonde 1849 – Meyerbeer: Le prophète 1869 – Gounod: Faust Imagen del interior del Palais Garnier. Audio Clásica ı 73 de esta ópera fue tal que Bélgica obtuvo su de Spontini, 1819), la campana (Guillermo encarnar la agresividad “justiciera” que a independencia del reino holandés a causa Tell, 1829), el gong (Roberto el diablo, 1831) veces encontramos en el primer Verdi, sino del desorden provocado en el Teatro de la la trompeta con pistones, el yunque y el ór- que van aún más lejos al encarnar una vio- Monnaie de Bruselas tras una acalorada gano (La judía, 1835), el clarinete bajo y la lencia irracional y sanguinaria que se dirige interpretación del dueto “Amour sacré de viola d’amore (Los hugonotes de Meyerbeer, directamente contra los protagonistas del la patrie”. 1836) o la saxtuba (El judío errante de drama. Estos devaneos con la mala con- Por su parte, el Guillermo rossiniano y el Halévy, 1852), entre otros. El desarrollo ciencia social de su público constituyeron, Roberto meyerbeeriano elevaron la sus- del arte de la orquestación en la Ópera de sin duda, un decisivo acicate para el monu- tancia musical y orquestal del nuevo gé- París proporcionó a Berlioz la base sobre mental éxito obtenido por la obra meyer- nero (Berlioz califi cará a la primera como la cual revolucionar este arte, como lo de- beeriana, pese a las frecuentes prohibicio- “sublime”, mientras verá en la segunda “el muestra la importante representación que nes y censuras que sufrió fuera de la liberal ejemplo más asombroso del poder de la encuentra Meyerbeer (Roberto el diablo y Francia. Con estos ingredientes, según An- orquestación aplicada a la música dramá- Los hugonotes) en su pionero e infl uyente selm Gerhard (Th e Urbanization of Opera, tica”) y, pese a que ambas renunciaron al Tratado de orquestación (1844). Como con- 1998), la gran ópera “anticipa al cine, sus fi nal trágico, incidieron en temas que serán trapartida a la posición vanguardista logra- grandes contrastes se corresponden con los fundamentales en la gran ópera madura: da en el apartado orquestal, el teatro acabó de la ciudad moderna; sus ambigüedades el político en Guillermo Tell –en este caso, por quedar secuestrado por las frivolidades son el resultado de tensiones culturales que abordando la leyenda del famoso líder in- y el conservadurismo de un público para el aún podemos identifi car hoy día. Al in- dependentista suizo del siglo XIV–, y el re- cual la ópera era ante todo un lujoso even- cluir incluso la violencia terrorista, el coro ligioso en Roberto el diablo –con su temática to social. Para triunfar en tan exclusivo de ópera alegoriza a veces concentraciones demoníaca y su, para entonces, escandaloso coliseo los compositores debían plegarse populares capaces de condicionar cambios ballet de monjas en el cementerio. El entu- a un sinnúmero de convenciones, además políticos”. siasmo despertado por la obra de este judío de tejer una tupida red de infl uencias con Pese a todo, no debemos olvidar que en la alemán radicado recientemente en París gestores y críticos musicales, además de la gran ópera todo elemento político estuvo desbordó todo lo conocido hasta la fecha, siempre temida claque. ligado indisoluble y (casi siempre) frívola- hasta el extremo de precipitar la retirada mente con el elemento melodramático (en de los escenarios musicales de Rossini en LOS MIEDOS DE UNA ÉPOCA Los hugonotes se llega a explicar la histórica el cenit de su carrera y sin haber cumplido masacre de San Bartolomé a partir de un siquiera los cuarenta años de edad. La mercantilización de la gran ópera du- simple desengaño amoroso). No nos debe rante este periodo no le impidió desarro- extrañar, por tanto, que este delicado equi- ARTE E INDUSTRIA llar un fuerte contenido político, comple- librio entre entretenimiento, arte y nego- DEL ESPECTÁCULO tamente ajeno hasta entonces tanto en el cio que fue la gran ópera viera mermada teatro musical italiano (donde los trasfon- su vigencia al cambiar las tornas políticas El verdadero despegue de la gran ópera dos históricos apenas servían de decorado y hacerse visibles sus costuras y apaños: tuvo lugar después de 1830, cuando el nue- para el desenvolvimiento de reiterativos el estallido de la revolución de 1848 y la vo gobierno decidió privatizar la Ópera de triángulos amorosos) como en el alemán reimplantación de la censura en 1852 por París y adjudicarla a Louis-Désiré Veron, (si exceptuamos el Fidelio del ya entonces parte de Napoleón III pusieron fi n a este quien reformó la institución al gusto de las fallecido Beethoven).
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    Carlo rizzi the hallÉ JOYCE EL-KHOURY ÉCHO JOYCE EL-KHOURY ÉCHO Carlo Rizzi ‒ conductor The Hallé ORR252 Cover image: Joyce El-Khoury (photographer: Julien Benhamou) Cover design: Carroll & Co 1 Producer Editing Jeremy Hayes Jeremy Hayes and Steve Portnoi Opera Rara production management Liner notes and translations Kim Panter Rosie Ward Recording production management The scores and parts for this recording were Henry Little hired from G. Ricordi & Co (London) Ltd, Faber Music (Bärenreiter), Edition Peters Assistant conductor and RAI Milan George Jackson The orchestral scores and parts for Le Pré Répétiteur aux clercs were created for Opera Rara by David Jones Ian Schofield Italian coach Recorded in The Stoller Hall, Chetham’s Valentina di Taranto School of Music, Manchester. February 2017 French coach Hallé Sonja Nerdrum Paul Barritt, leader Session photography Hallé management: Russell Duncan John Summers Geoffrey Owen Recording engineer Stuart Kempster Steve Portnoi Sue Voysey Assistant engineer Louise Brimicombe Niall Gault Louise Hamilton 2 Joyce El-Khoury – Écho Carlo Rizzi, The Hallé Page Duration [1] Donizetti, Lucia di Lammermoor (Scena e Cavatina) ‘Regnava nel silenzio’ 10 8’30 [2] Meyerbeer, Robert le diable (Cavatine) ‘Robert, toi que j’aime’ 12 5’39 [3] Weber/Berlioz, Le Freyschütz (Scène et Air) ‘Hélas! sans le revoir’ 13 8’00 [4] Rossini, Guillaume Tell (Récitatif et Romance) ‘Ils s’éloignent enfin’ 16 8’30 [5] Meyerbeer, Robert le diable (Romance) ‘Va, dit-elle, va, mon enfant’ 19 6’37 [6] Donizetti, Lucia di Lammermoor
  • Manuel García (1805-1906) a Bicentenary Reflection

    Manuel García (1805-1906) a Bicentenary Reflection

    1 Manuel García (1805-1906) A Bicentenary Reflection Teresa Radomski, M.M. Professor, Department of Music Consultant, Center for Voice Disorders Wake Forest University Winston-Salem, North Carolina, U.S.A. The “Christopher Columbus of the larynx” On March 17, 1905, Manuel Patricio Rodríguez García celebrated his one hundredth birthday in London, where he had resided since 1848. The preeminent voice teacher, who had been credited with the invention of the laryngoscope, was received personally by King Edward VII, and honored at a huge gala event. A newspaper account declared: “It may be said that there has never probably been a testimonial before wherein the arts and the physical sciences have so happily combined.”1 Citations were read by royal ambassadors from Spain and Germany, as well as representatives from numerous international laryngological societies and colleagues from the Royal Academy of Music, where García had taught until 1895. A highlight of the centenary celebration was the unveiling of García’s portrait, painted by John Singer Sargent, which caused the recipient to remark: “It is a strange experience to see one’s very self spring out at one from nothing in a flash.”2 Many of García’s former students, now acclaimed professional singers, were on hand to honor their illustrious teacher. One of these was Blanche Marchesi (1863-1940), the daughter of García’s greatest disciple, Mathilde Marchesi. Blanche presented a large bouquet of flowers in the red and yellow colors of Spain, with the inscription: “To the 2 Christopher Columbus of the larynx”.3 Representing García’s most famous pupil, Jenny Lind, was her husband, Otto Goldschmidt, who, “in a few words, rendered indistinct through emotion, declared that his wife to the end of her days continued to have veneration, regard and respect for the master who enabled her to attain her greatest musical position”.4 The García family Manuel García was a member of the most important family in the history of singing.
  • The Castrato. the Englishcounter Tenor. and the Teachings Of

    The Castrato. the Englishcounter Tenor. and the Teachings Of

    Do Di Petto: "Covering" the Castrato. the English Counter Tenor. and the Teachings of Manual Garcia II Robyn Vaughan Cathcart University of Victoria, BC, Canada Until the return of counter tenor Alfred Deller in the 1940s. such a sound had all but disappeared in vocal perfonnance for over 50 years. The castrali fell silent the century before. as bel canto singing emerged as the dominant vocal sound of the stage. It would seem that things did not hold well for such voices: enter Manuel Garcia II (1805-1906). Garcia II is perhaps the greatest teacher of voice in history. His students were among the top singers in the world. and there were many of them (e.g. Mathilde Marchesi and Jenny lind). His approach. as stated in his A Complete Treatise on the Art of Singing. Parts One (1841) & Two (1847). became one of the principal methods of vocal instruction during the time. Solid technique. beautiful tone. exquisite musicianship and mesmerizing performances typify his product. While many would say that such qualities are also true of gifted counter tenors and castrati. Garcia II would not. The cornerstone of his technique for the male singer dictated that the singing voice must be based on the chest voice. not the lighter mechanism as utilized. although differently. by the counter tenor and castrato. While it is said that both of these voices could stir their audiences into an uproar. it was not a production that excited Garcia II. On the contrary. he was amazed by male singers who sang the high C an octave below.