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RUBINSTEIN Argument MT / 3 Demon Argument 4 / 5 Demon

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RUBINSTEIN Argument MT / 3 Demon Argument 4 / 5 Demon DEMON RUBINSTEIN Argument MT / 3 Demon Argument 4 / 5 Demon Demon arriba al Liceu per primera vegada amb la coproducció del Gran Teatre del Liceu, l’Helikon Opera, l’Staatstheater Nürnberg i l’Opéra National Bordeaux Fitxa Una òpera russa: 6 / 7 el dimoni redimeix 9 39 Anton Rubinstein Xavier Cester 10 Repartiment Els dimonis russos 47 van a l’òpera 12 Amb el teló abaixat Jaume Creus Entrevista a 17 Argument 57 Dmitry Bertman Cronologia 27 English Synopsis 62 Jordi Fernández M. Selecció d’enregistraments Demon, l’òpera d’Anton 71 35 Rubinstein basada en el poema de Mikhaïl Lérmontov Biografies Dmitry Bertman 74 Demon Temporada 2017-18 8 / 9 DEMON Òpera en tres actes. Llibret de Pavel Alexandrovich Viskovatov basat en el poema homònim de Mikhaïl Lermontov. Música d’Anton Rubinstein. Estrenes 25 de gener de 1875: estrena absoluta al Teatre Mariïnski de Sant Petersburg 10 d’octubre de 1905: estrena a Barcelona al Teatre Novedades (en traducció italiana). Estrena al Gran Teatre del Liceu Abril 2018 Torn Tarifa 23 20:00 A 4 Durada total aproximada 2h i 35m (*): Amb audiodescripció 26 20:00 B 4 29 17:00 T 4 Maig 2018 Torn Tarifa 2 20:00 D 5 5 20:00 C 4 8* 20:00 H 5 11 20:00 E 4 Uneix-te a la conversa #DemonLiceu liceubarcelona.cat facebook.com/liceu @liceu_cat @liceu_opera_barcelona Demon Príncep Gudal, pare de Tamara Alexander Tsymbalyuk Tamara Asmik Grigorian Príncep Sinodal, promès de Tamara Igor Morozov Servent de Sinodal Roman Ialcic Mainadera de Tamara Larisa Kostyuk Dimoni Egils Siliņš Missatger Antoni Comas Àngel Yuriy Mynenko Ballarines Alba Fernández, Virginia Gimeno i Nina Maycas Ballarins Alejandro Altamirano, Oriol Anglada, Miquel Barcelona, Oscar Mellado i Leandro Pérez-Sanabria El Gran Teatre del Liceu i el director d’escena Dmitry Bertman dediquen les funcions de Demon a la memòria del gran baríton Dmitry Hvorostovsky, que ens va deixar el passat 22 de novembre de 2017. Repartiment 10 / 11 Direcció musical Mikhail Tatarnikov Direcció d’escena Dmitry Bertman Coreografia Edwald Smirnoff Escenografia i vestuari Hartmut Schörghofer Il·luminació Thomas C. Hase Videocreació fettFilm (Momme Hinrichs i Torge Möller) Assistència de la direcció d’escena Emilio López Raúl Vázquez Assistència de l’escenografia i del vestuari Markus Boxler Construcció de l’escenografia Delfini Group Confecció del vestuari Época Barcelona Construcció de l’esfera inflable Quim Guixà Coproducció Gran Teatre del Liceu, Helikon Opera (Moscou), Staatstheater Nürnberg i Opéra National Bordeaux Orquestra Simfònica i Cor del Gran Teatre del Liceu Direcció del Cor Conxita Garcia Concertino Kai Gleusteen Assistència a la direcció musical Diego García Rodríguez Assistents musicals Véronique Werklé, Ludmila Orlova, Vanessa García, Andrea Álvarez i Jaume Tribó Demon AMB EL TELÓ ABAIXAT Compositor Anton Grigórevitx Rubinstein (1829-1894) va ser un músic rus que va compaginar la composició amb la direcció d’orquestra i la interpre- tació pianística. Fundador, director i professor del Conservatori de Sant Petersburg, com a concertista i director va actuar als principals auditoris i teatres del seu temps. El seu llegat compositiu és ampli i inclou, a més de l’òpera i d’un conjunt de cançons, peces simfòniques, de cambra i moltes obres per a piano, entre les quals cinc concerts. D’estil eminentment romàntic, Rubinstein es va emmirallar en els models alemanys de Beethoven i Brahms, però sense oblidar l’influx del seu gran rival, Franz Liszt, en el terreny de la composició pianística. Com a compositor operístic, el seu catàleg inclou dinou títols, estre- nats a Sant Petersburg, Weimar, Viena, Dresden, Königsberg, Berlín, Hamburg, Stuttgart o Praga. La seva fama va ser molt superior fora de Rússia, on les òperes que estrenà tingueren un èxit més aviat escàs, contràriament al que va passar als teatres alemanys i de bona part de la resta del continent europeu. 12 / 13 A banda de Demon, la desena òpera del corpus compositiu de Rubins- tein, el músic rus també va ser cèlebre per la seva dotzena composició teatral, Néron. Llibret i llibretista El llibret de Demon de Pavel Viskovatov es basa en un poema dramàtic de Mikhaïl Lérmontov, poeta rus que va viure entre els anys 1814 i 1841 i que no deixa d’amagar la influència de Lord Byron. La vida de Lérmontov, convulsa i prototípicament romàntica, sovint es compara amb la del seu compatriota Aleksandr Puixkin, el qual, com l’autor de Demon, també va morir jove i a conseqüència de les ferides d’un duel amb pistola. En vida, algunes de les seves obres (com ara Demon, conside- rada sacrílega), van rebre el llast de la censura. Lérmontov va cultivar al llarg de la seva curta vida una activitat cultural centrada en la literatura, la música i les arts plàstiques, i combi- nant la seva faceta com a escriptor amb la de dibuixant. Demon Estrena Demon es va estrenar al Teatre Mariïnski de Sant Petersburg el 25 de gener de 1875, tot i que la composició l’havia enllestida el 1871. Aquell any Rubinstein va oferir una audició privada als seus col·legues del conegut com a Grup dels Cinc, que van jutjar la partitura amb molta severitat. Quatre anys després de l’estrena, Demon es va representar a Moscou i va iniciar un periple internacional fins a assolir, en pocs anys, més de cent representacions. Tanmateix, a partir de principis del segle XX la fama de Rubinstein va començar a declinar i les seves òperes constituïren una raresa. Estrena al Liceu Fins ara, l’única òpera de Rubinstein estrenada al Gran Teatre del Liceu ha estat Néron, cantada en italià el 1898, en el que va ser la primera òpera russa programada al teatre barceloní. Tanmateix, Demon es va veure al Teatre Novedades de la capital catalana els dies 10 i 11 d’octubre de 1905. Cantada igualment en italià, se’n van fer càrrec els membres de la companyia de l’empresari Francesco Castellano. Es dona el cas, però, que el ballet de l’òpera ja s’havia sentit al Liceu el 18 de febrer de 1881. El mateix dia i dos dies abans (el 16 de febrer) Anton Rubinstein en persona va interpretar al Liceu un recital amb piano i orquestra. Ambdues vetllades amb programa diferent i amb direcció orquestral de Modest Subeyas-Bach. Amb el teló abaixat 14 / 15 Assaigs de Demon al Teatre Demon Demon compta amb la direcció d’escena de Dmitry Bertman i la direcció musical de Mikhail Tatarnikov 16 / 17 ARGUMENT ACTE I Escena 1 Diversos elements naturals en forma de cors representant esperits del bé, vents, arbres, flors i roques s’apleguen, lloen i glorifiquen l’eternitat de Déu.1 El Dimoni irromp aleshores amb les forces del mal i proclama el seu odi vers el món i les criatures humanes. L’Àngel replica i ofereix al diable una oportunitat per salvar-se a través de l’amor, font de tota mena de bondats.2 El Dimoni refusa la proposta angelical i declara la guerra a les forces del bé. Escena 2 A la vora del riu Aragva, unes noies canten sobre un peix d’or que navega per les seves aigües mentre omplen els càntirs. La jove Tamara, promesa al príncep, s’afegeix al cant de les seves companyes quan sent la veu del Dimoni, fascinat per la bellesa de la noia. 3 Tamara intueix que es troba en una situació perillosa. Per dissipar les seves pors, la gover- Comentaris 1 Un passatge arpegiat de la 2 «Proklyatyi mir!» és la primera 3 Rubinstein caracteritza la musicals corda dona pas a una secció intervenció del Dimoni, un ric primera part de l’escena amb molt més rica en sonoritat a recitatiu acompanyat que dona un aire bucòlic i innocent, que càrrec de tota l’orquestra, que pas a un arioso que demana aviat contrastarà amb els que vol descriure les ondulacions intencionalitat expressiva per envolten la propera aparició del del vent abans de la primera subratllar l’odi que destil·la el Dimoni. La primera intervenció intervenció coral, molt rica en personatge. La intervenció de de Tamara amb el cor és un matisos expressius en funció l’Àngel derivarà en un duet de arriscat vocalise. dels diferents tipus d’elements gran força dramàtica. que canten. Demon nanta canta a Tamara una lloança a l’esperança de tota promesa a punt de casar-se.4 La noia sembla animada per la melodia, però el Dimoni insisteix a seduir-la. Tan sols Tamara percep la presència del maligne i la governanta se l’endú. Escena 3 Una capella enmig d’una zona muntanyosa.5 El príncep Sinodal i el seu seguici es troben bloquejats per una tempesta de neu, que els obliga a interrompre el viatge cap al castell de Gudal. El príncep enyora l’esti- mada Tamara, a qui evoca i a qui imagina sobrevolant-la com si ell fos un ocell: «Voldria amb un vol ràpid travessar el desert solcant els aires quan vers tu l’amor em guia».6 Un vell servent commina el príncep a pregar a la capella, enmig d’un indret com aquell, ple de perills i que demanen la protecció del devot.7 Però Sinodal opta per descansar d’un tan fatigós trajecte i posposar la pregària a l’endemà al matí, mentre s’adorm evocant la imatge de Tamara. El Dimoni apareix aleshores i xiuxiueja al príncep que somiï en la seva estimada, ja que no la veurà mai més: un escamot de tàrtars es disposa a atacar el campament de Sinodal i el deixa malferit. El vell servent tem el pitjor, però el príncep no vol deixar de veure Tamara i, tot i la greu ferida, s’entesta a cavalcar fins a trobar-la al castell de Gudal.
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