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Acis and Galatea È Un’Opera Profon- Sentato Dal Coro

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Acis and Galatea È Un’Opera Profon- Sentato Dal Coro LIRICA GIOVEDÌ 21 MARZO 2019 ORE 20.00 18/19 terventi del coro a ricordarle la sua na- routine, conquistata all’inizio dell’ope- tura divina. Galatea decide così di tra- ra grazie al ritorno di Aci e alla ricon- mutare Aci in una fonte. L’ultima aria giunzione della coppia, e turbata nella GEORG FRIEDRICH HÄNDEL della protagonista è magistrale nel seconda parte dell’opera dall’arrivo di sottolineare l’andamento fluttuante un pericolo tenace ed aggressivo. dell’acqua sgorgante come un ruscel- Un arrivo inaspettato per Aci e Gala- lo dalla roccia (“Heart, the seat of soft tea, ma presagito dal coro “Wretched delight”). Chiude l’opera il trionfale lovers” che infrange radicalmente e canto finale del coro in perfetta asso- inesorabilmente l’euforia scandita dal ACIS AND nanza con gli identici versi cantati da duetto “Happy we”. Galatea: “Through the plains he joys Questa dunque la chiave di lettura (still joy) to rove, / Murm’ring still thy proposta dalla regia, la quale non in- gentle love”. tende però trascurare un elemento presente nell’opera e voluto dagli au- tori in quanto condizione necessaria GALATEA alla soluzione ultima della vicenda, ovvero la metamorfosi di Aci dopo la NOTE DI REGIA sua morte. masque in due atti su testo di John Gay, Alexander Pope e John Hughes L’ingrediente non trascurabile è evi- da Le metamorfosi di Ovidio di Marco Bellussi dentemente quello mitologico che, nella lettura proposta, viene rappre- Acis and Galatea è un’opera profon- sentato dal coro. damente inglese nella quale le atmo- Posto in uno spazio elevato e altro ri- sfere suggerite dalla musica di Händel spetto a quello delle vicende umane, il ci trasportano in una ideale campagna coro le osserva, le commenta e talora, anglosassone ammantata di eleganza quasi per gioco, si diverte a interveni- e intima sensualità. re con piccole interferenze. In questo contesto la vicenda senti- Un duplice piano dunque, che accom- mentale di Aci e Galatea scorre se- pagna l’intero dipanarsi dell’intreccio condo criteri di autenticità; le azioni e e che consente di coniugare le due le reazioni dei personaggi sono vere, anime del masque händeliano: quella palpitanti e trasudano umanità. concreta del sentire umano e quella Da questa prima considerazione de- metafisica di un mito che ciclicamen- riva l’esigenza di trovare una dimen- te si ripete e consegna all’immortalità sione più vicina e concreta rispetto l’amore di Aci e Galatea. a quella classico-mitologica; una di- mensione adatta a valorizzare l’auten- tica umanità dei personaggi. Eccoci dunque in una campagna in- glese di primo Novecento nella quale si gioca a cricket e si beve il tè; in una Inghilterra in cui gli uomini si riunisco- no in esclusivi e fumosi club mentre le signore preparano il pudding. La quo- tidianità quindi, nella vita sociale così come negli affetti privati. Una felice libretto-3 acis.indd 1 11/03/19 09:57 ORCHESTRA E CORO ACCADEMIA DELLO SPIRITO SANTO ACIS AND riflettono il genio e la magnificenza di Nicola Giuvo nella Napoli vicereale seconda sezione vengono imitati i ver- ACIS AND GALATEA: del loro grande signore. La cappella, austriaca con il titolo di Aci, Galatea e si e gli accenti della colomba. Entram- GALATEA direttore GENESI DI UNA già terminata, possiede un gruppo Polifemo (luglio 1708), diviene masque bi manifestano poi il loro compiuto ALESSANDRO QUARTA RIELABORAZIONE di voci e strumenti come la cappel- in due atti su testo inglese nel 1718 amore con il festoso e celebre duetto masque in due atti su testo di John Gay, la reale». Maestro di cappella era - come già accennato - per il duca di “Happy we”. di Riccardo Ravani Johann Christoph Pepusch (poi auto- Alexander Pope e John Hughes maestro del coro Chandos come Acis and Galatea; nuo- Senza soluzione di continuità si passa re, nel 1728, delle musiche per la sati- vamente serenata in versione ibrida bi- alla seconda parte, nella quale l’atmo- da Le metamorfosi di Ovidio Francesco Pinamonti Il primo contatto di Händel sul suo- rica Beggar’s Opera di John Gay, cui lingue (inglese e italiana insieme) in tre sfera da allegra e bucolica si fa cupa e lo inglese con il soggetto di Acis and arriderà grande successo), per il quale atti nel 1732 come Acis e Galatea e, da sinistra. È al coro (“Wretched lovers!”) direttore di scena e maestro collaboratore Galatea, su libretto di John Gay con Händel si trovò a ricoprire il ruolo di ultimo, opera pastorale in due atti in che Händel affida, attraverso un denso PERSONAGGI E INTERPRETI Gerardo Felisatti integrazioni di Alexander Pope e John composer-in-residence, ossia «com- lingua inglese nel 1739 come rielabo- tessuto polifonico fortemente espres- positore residente». In questa veste maestro collaboratore Jacopo Bonora Hughes, risale all’estate del 1718 e as- razione del masque del 1718. E proprio sivo, il compito di avvisare gli amanti realizzò gli undici inni ispirati a salmi quest’ultima è la versione proposta in dell’incombente sventura, accompa- Galatea sume le sembianze del masque, gene- re teatrale molto affermato in Inghil- biblici noti come Chandos Anthems, questa sede, presentata il 13 dicembre gnando tramite un andamento fugato Sabrina Cortese violini Luca Ranzato*, Maria Ines Zanovello, terra. A un primo modello di masque il Chandos Te Deum e, per l’appunto, 1739 presso le Hickford’s Room di Lon- l’entrata in scena di Polifemo, perso- impostosi nell’età della Restaurazione i due masques dal titolo Acis and Ga- dra, data alle stampe nel 1743 e infine naggio magnificamente tratteggiato Giovanna Gordini, Filippo Bergo, Andrea Acis − inaugurata dal ritorno sul trono de- latea e Esther. Christopher Hogwood riorchestrata da Mozart in stile classi- dal grande maestro sassone con ac- Anderlini, Rossella Borsoni, Lavinia Soncini, Leonardo Cortellazzi gli Stuart nel 1660 fino alla ci ha lasciato un importante co nel 1788 su testo tradotto in tedesco centi di magica ironia e parodia. Nel Paolo Cantamessa morte di Giacomo II nel commento su questi due dal barone Gottfried van Swieten con suo recitativo d’esordio, dapprima rab- violoncelli Federico Toffano, Giulio Padoin 1689 dopo le vicende monumenti in musica: il titolo di Acis und Galathea. bioso (“I rage, I melt, I burn”), il ciclope Damon violoni Alessandro Pivelli, Daniele Carnio rivoluzionarie e del «Rappresentano il L’eccezionale maestria di Händel chiede che gli si portino cento canne Luca Cervoni Protettorato di lato sacro e quel- come uomo di teatro appare qui evi- ben costruite per poterne ricavare un oboi/flauti Gregorio Carraro, Kerstin Frodin Oliver e Richard lo profano di un dente nella sua grande capacità di ca- flauto adatto alle sue grandi fauci. Se- fagotto Paola Frezzato Polifemo Cromwell genere che Pe- librare, dosare e alternare gli elementi gue la magistrale aria “O ruddier than arpa Chiara Granata pusch aveva a del linguaggio drammaturgico. the cherry” dagli inequivocabili tratti Mauro Borgioni (1649-1659)−, cembalo Roberto Loreggian basato sull’in- lungo deside- Dopo una scattante ouverture in tem- vocali dell’aria di furore, durante la nesto di pa- rato di vedere po di giga, prende corpo il primo coro quale la linea strumentale con inter- mise en espace * violino di spalla gine musicali in circolazio- all’insegna della felicità bucolica tipica venti del flautino getta più di un’ombra Marco Bellussi suonate, can- ne: lo spetta- delle opere pastorali: “Harmless, mer- comica sul personaggio. Avvicinata soprani Irene Sitta, Naoko Tanigaki, Ginevra tate e danzate colo dramma- ry, free and gay, / Dance and sport the da Polifemo, Galatea rifiuta i corteg- tico cantato hours away”, laddove i vari elementi giamenti del ciclope, che nella sua scene sopra un testo Campalani, Francesca Brandoli, Alice recitato, ne era integralmente menzionati quali zefiro, rugiada e rosa, successiva aggressiva aria (“Cease to Matteo Paoletti Franzato Fraccari, Monica Bertolini subentrato ben in lingua ingle- sono affidati a interventi solistici. La beauty to be suing”) la invita per tutta contralti Sara Magon, Linda Cisternino, presto un altro, se dall’inizio alla prima a entrare in scena è quindi Gala- risposta ad abbandonare l’amato Aci. disegno luci Raffaele Vrenna, Alessia Beraldo, Jone interamente mu- fine», a sottolineare tea, la quale, dopo un breve recitativo, Si fa vivo a questo punto lo stesso Aci Marco Cazzola Babelyte sicato e fortemente quella che andava de- intona un’aria bucolica caratterizzata sferrando un attacco veemente all’or- influenzato dallo stile finendosi come un’im- dalla presenza dei flauti per invitare ribile mostro con l’aria “Love sounds tenori primi Lars Hvass Pujol, Stefano belcantistico italiano, sulla portante e consolidata tra- il coro a condurle sotto gli occhi l’a- th’alarm”, ignorando così ancora una assistente di scena Maffioletti, Michele Semenza, Alberto scia dell’arrivo in Inghilterra delle dizione, alimentata sia dai compo- mato Aci. Invocato, ecco comparire il volta gli inviti alla prudenza di Damon Emiliano De Lello Pometto compagnie d’opera dal nostro paese a sitori locali che dai naturalizzati inglesi giovane pastorello con l’aria “Where (aria “Consider, fond shepherd”). Se- tenori secondi Luca Caleffi, Nicola Carli, partire dal 1705. come il berlinese Pepusch. shall I seek the charming fair?”, dal gue un trio nel quale Aci e Galatea figuranti Gioacchino Leonardi, Francesco Negrelli Händel in questo periodo si trovava Ma di particolare interesse e degna malinconico incedere. Interviene al- piangono insieme la loro infelice sorte di essere ripercorsa, come sorta di lora Damon invitando
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