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El Concierto Tel IDOMENEO RE DI CRETA WOLFGANG AMADEUS MOZART 13 FEB - 1 MAR Las promesas a los dioses traen consecuencias Dirección musical Ivor Bolton Dirección de escena Robert Carsen Coro y Orquesta Titulares del Teatro Real Patrocina ENTRADAS A LA VENTA DESDE 12 € COMPRA TUS ENTRADAS EN TEATRO-REAL.COM · 902 24 48 48 · TAQUILLAS SÍGUENOS Y TENDRÁS UN 10% DE DTO. EN VENTA amigosdelreal.com · 915 160 702 HAZTE DEL TEATRO REAL PREFERENTE ÓPERA Y DANZA 18/19 Administraciones Públicas fundadoras Administración Pública colaboradora Scherzzo_DasRheingold-Idomeneo_215x297+3.indd 1 17/12/2018 12:37:45 347 Pliego 1.qxp_Scherzo 17/12/18 21:35 Página 1 s c h e r z o ¢ Nº 347 ENERO 2018 2 Opinión 96 Encuentros Félix de Azúa José Luis Téllez Jesús Iglesias Javier Pérez Senz Por Justo Romero Tarlova Pablo J. Vayón Colaboran en este número 100 Jazz 8 Con nombre propio Por Luis Martín Mariano Acero Ruilópez Vasily Miguel Ángel Aguilar Rancel Petr enko Josep Armengol Vasily Petrenko Félix de Azúa Por Michael Thallium Rafael Banús Irusta Elena Bernardi Emili Blasco Peter Eötvös Borggreve M. José Antonio Cantón Por Stefano Russomanno Nacho Castellanos Peter Yahvé M. de la Cavada Eöt vos Jacobo Cortine Flavio Ferri-Benedetti Fernando Fraga 13 Hoja de contactos Ismael G. Cabral Por Benjamín G. Rosado 102 Bandas sonoras Germán Gan Quesada Por Miguel Ángel Ordóñez Benjamín G. Rosado Manuel García Franco Enrique García Revilla 14 Noticias / Agenda Ana García Urcola Miguel Ángel González Barrio 104 Sonido Carlos Javier González Serrano Por Josep Armengol Paul Korenhof 18 Actualidad Juan Ramón Lara Martín Lasalle Norman Lebrecht Nacional / Internacional 14 Músicas sumergidas Martín Llade Josemi Lorenzo Arribas Manuel Luca de Tena Vitezslava Kaprálová Pier Élie Mamou 36 Entrevista Por Juan Manuel Viana Tomás Marco Luis Martín Santiago Martín Bermúdez Thomas Hengelbrock Manuel M. Martín Galán Por Pablo L. Rodríguez 107 El horizonte quimérico Daniel Martín Sáez Joaquín Martín de Sagarmínaga Por Martín Llade Blas Matamoro Erna Metdepenninghen 40 Grabaciones Antonio Moral Andrés Moreno Mengíbar 109 Danza Mario Muñoz Carrasco Entrevistas: Por Silvia Pérez Arroyo Daniel Muñoz de Julián Helena Núñez Guasch Jean Rondeau Miguel Ángel Ordóñez Alexander Lonquich Rafael Ortega Basagoiti 108 Educación Josep Pascual Enrique Pérez Adrián Por Joan-Albert Serra Silvia Pérez Arroyo 78 Libros Javier Pérez Senz Paolo Petazzi Ruth Prieto 110 La guía Arturo Reverter 79 Dosier Barbara Röder Pablo L. Rodríguez David Rodríguez Cerdán Castrati 112 Contrapunto Justo Romero Por Norman Lebrecht Stefano Russomanno Víctor Sánchez Sánchez Farinelli español Urko Sangroniz Por Daniel Martín Sáez Pablo Sanz Javier Sarría Pueyo Joan-Albert Serra Siface, el primer gran divo Carlos Singer Por Elena Bernardi Franco Soda Christian Springer Luis Suñén Carestini y Caffarelli Michael Thallium Por Eduardo Torrico José Luis Téllez José Antonio Tello Sáenz Eduardo Torrico Senesino, mi héroe de infancia Asier Vallejo Ugarte Por Flavio Ferri-Benedetti Pablo J. Vayón Enrique Velasco Juan Manuel Viana José Luis Vidal SUSCRIPCIÓN ANUAL (11 No.s) Scherzo es miembro de arce, Asociación de Revistas Culturales de España, y de cedro, Centro Español de Derechos Reprográficos. Esta revista ha recibido una ayuda a la edición del Ministerio de Educación, Con la colaboración de España 85 € Cultura y Deporte. Scherzo es una publicación de carácter plural y, desde el año 2012, cuenta con la Europa 120 € colaboración de la Fundación bbva, manteniendo su carácter de revista no adscrita a ningún organismo Resto países 140 € público ni privado. La dirección respeta la libertad de expresión de sus colaboradores. Los textos firmados Digital (PDF) 50 € son de exclusiva responsabilidad de los firmantes, no siendo por tanto opinión oficial de la revista. 347 Pliego 1.qxp_Scherzo 17/12/18 21:35 Página 2 e d i t o r i a l Palau de les Arts: último episodio opinión Que la política activa esté tan imbricada en la cultura de nuestro país —no porque los ¢ políticos sean especialmente cultos sino porque quieren aprovecharse de ella, entre otras cosas porque consideran que la pagan ellos, se diría que con su dinero— puede llevar a situaciones tan disparatadas como la que se produjo en Valencia tras el estreno de la controvertida producción de La flauta mágica a cargo de Graham Vick, director de escena, todo hay que decirlo, de reconocido prestigio. La sala del Palau de les Arts —“templo de la lírica” según algún cronista— presentaba, porque el montaje así lo requería, carteles que en tiempos felizmente olvidados se hubieran llamado subversivos. La producción aludía a cuestiones sociales —fíjense, como en La verbena de la Paloma— y quería ser, con éxito o no, es lo mismo, una nueva lectura de una obra que, por cierto y con la connivencia de muchos teatros, se considera erróneamente poco más que un cuento infantil para disfrute de inocentes criaturas que todavía no saben, aunque lo ejerzan, qué son la misoginia o el racismo. Pues bien, he aquí que el presidente de la gestora del PP de la ciudad de Valencia, Luis Santamaría, ha puesto el grito en el cielo y considerado que el conseller de Cultura, Vicent Marzà, “debería dimitir por destrozar el prestigio del Palau de les Arts”. Y añade: “Lo peor es que el tripartito se ha creído que todo se puede politizar y es lo que están haciendo también en el Palau de les Arts”, rematando que en el montaje había “una clara intención”. Bastaría con reproducir las palabras del señor Santamaría y no añadir ningún comentario para obtener el resultado de lo que entiende por cultura y por política y, lo que casi sería más grave, también lo que no entiende de ópera. En España, y mientras no haya una ley de mecenazgo, los poderes públicos estatales, autonómicos o municipales mantienen las actividades culturales igualmente públicas en mayor o menor medida, casi siempre mayor. Mientras el Teatro Real presume de que casi se basta por sí mismo, todos los demás se quejan de que les dan poco dinero. Pero ni el uno ni los otros se plantearían tolerar la interferencia del poder político más vocinglero no ya en sus programaciones sino en sus representaciones, se supone que hechas desde la profesionalidad e inmediatamente defendibles por ello. En este asunto, sin embargo, se echa de menos la inmediata defensa de la función valenciana por parte de sus responsables. Pero, claro, esos responsables no están ya en un teatro que parece a la deriva, aunque, al fin, tenga a su frente dos nuevos nombres. Desde casi el día mismo de la bronca citada, una nueva directora general, María Inmaculada Plà, sin currículum en estos menesteres. Y a partir del 1 de enero de este 2019 a un gestor artístico de demostrada competencia como es Jesús Iglesias, a quien, en su condición de responsable de los títulos y, sobre todo, de la producciones a programar, es de suponer que el episodio le haya puesto los pelos como escarpias, si se nos permite la expresión. Lo peor de todo esto es que se veía venir y aquí lo hemos señalado en varias ocasiones. Maazel para hoy y hambre para mañana sería el lema que resumiera esta carrera ojalá no imparable hacia el desastre. Lo único que puede frenarla es, como sucede en tantas cosas, el sentido común. Que Plà e Iglesias puedan trabajar libremente desde el deseo de hacer un teatro de ópera simple y llanamente posible, lo que debe incluir la revitalización de la Orquesta de la Generalitat Valenciana. Un teatro de ópera para todos y no solo para que el señor Santamaría ejerza su censura, ese resto de nuestros peores días. ¶ 2 SCHERZO 347 Pliego 1.qxp_Scherzo 17/12/18 21:35 Página 3 ESCRITO DE OÍDO OPINIÓN Edita SCHERZO EDITORIAL S.L. C/Cartagena, 10. 1º C. 28028 MADRID El concierto Tel. 913 567 622 Fax 917 261 864 www.scherzo.es Félix de Azúa Presidente Santiago Martín Bermúdez Director Juan Lucas Redactor jefe Eduardo Torrico [email protected] Diseño Valentín iglesias Fotografía de portada Florence Grandidier No hay muchas novelas españolas en las que la Edición Arantza Quintanilla música juegue un papel notable. Pero al menos una hay y de las buenas, Las noches del Buen Retiro, Educación de Baroja. En ella la música como espectáculo Pedro Sarmiento y Joan-Albert Serra social tiene una presencia clave. La novela es peculiar, una coral de profusos personajes Jazz madrileños a fines del siglo XIX, tratados con un Pablo Sanz sarcasmo furibundo. Docenas de caracteres, Bandas sonoras algunos de la nobleza, otros del bajo pueblo, Don Pío Baroja, retrato de Joaquín Sorolla. Miguel Ángel Ordóñez unos cuantos, de la burguesía, se dan cita en los jardines del Buen Retiro (donde luego se pero la obertura la dirigió Barbieri ya en 1864. Consejo de Dirección Manuel García Franco construyó Correos) durante los meses calurosos A partir de Wagner la música pasa a ser un Santiago Martín Bermúdez de Madrid. Allí disparatan, galantean, pelean o asunto de altura. Caballeros y damas discuten Barbara McShane negocian. Hay incluso un duelo a espada. sobre armonía y modernidad. Los más osados Enrique Pérez Adrián citan a Nietzsche y a Schopenhauer, de quienes Pablo Queipo de Llano Ocaña Lo notable es que la excusa para acudir Arturo Reverter engalanados a esos jardines son los conciertos es improbable que hubieran leído nada, pero que se dan en ellos de continuo. Las gentes, en que, dicen, son imprescindibles para entender a Administración especial las damas de alcurnia y las cortesanas, Wagner. Baroja sí conocía de modo superficial Choni Herrera [email protected] aprovechan el escaparate para buscar la a los filósofos alemanes y sin duda las exhibición, la envidia y la cita secreta. Los opiniones wagnerianas que aparecen en la Contabilidad caballeros, erguidos, con pecheras novela son suyas, aunque cita con sorna a los Mise Rubio [email protected] almidonadas y corbatas de plastrón, vigilan a nietzscheanos.
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