/ 12 collana diretta da Franco Perrelli © 2018, Pagina soc. coop., Bari Questo volume è pubblicato con il contributo di Creative Europe Programme of the European Union – SHABEGH Shakespeare in and beyond the Ghetto: staging Europe across cultures FONDAZIONE GIORGIO CINI Presidente Giovanni Bazoli Segretario generale Pasquale Gagliardi ISTITUTO PER IL TEATRO E IL MELODRAMMA Direttore Maria Ida Biggi Coordinamento attività scientifiche Marianna Zannoni Staff Marianna Biso, Saba Burali, Anna Colafiglio, Beatrice Cristina Gambino Shakespeare all’Opera. Riscritture e allestimenti di Romeo e Giulietta a cura di Maria Ida Biggi, Michele Girardi Redazione Marianna Biso, Anna Colafiglio, Marianna Zannoni Collaborazione Serena Concone I curatori ringraziano lo staff dell’Istituto per il Teatro e il Melodramma per averli affiancati nel lavoro di redazione del volume. Shakespeare all’Opera. Riscritture e allestimenti di Romeo e Giulietta Atti del Convegno internazionale di studi (Venezia, Fondazione Giorgio Cini, 23-24 aprile 2018) a cura di Maria Ida Biggi e Michele Girardi L’Editore è a disposizione di tutti i proprietari di diritti sulle immagini riprodotte nel caso non si fosse riusciti a reperirli per chiedere debita autorizzazione. Per informazioni sulle opere pubblicate e in programma rivolgersi a: Edizioni di Pagina via Rocco Di Cillo 6 - 70131 Bari tel. e fax 080 5031628 http://www.paginasc.it e-mail: [email protected] facebook account http://www.facebook.com/edizionidipagina twitter account http://twitter.com/EdizioniPagina Indice Maria Ida Biggi Introduction VII Shaul Bassi Foreword IX Michele Girardi Il viaggio musicale di Romeo e Giulietta nel mondo dell’opera lirica XI Programma del Convegno XIII Fabio Vittorini «Eccetto la catastrofe finale». Per una genealogia italiana della storia di Romeo e Giulietta 3 Richard Erkens The Earliest Romeo and Juliet Operas: The Happy Lovers of Johann Gottfried Schwanberger (1773) and Georg Anton Benda (1776) 15 Françoise Decroisette Guerra di librettisti intorno a Roméo et Juliette nella Parigi della Terreur 33 Andrea Malnati «Il funesto avvenimento di Giulietta e Romeo»: di alcune varianti d’autore e di tradizione nell’opera di Giuseppe Foppa e Niccolò Zingarelli 47 Alessandro Roccatagliati Giulietta e Romeo di Romani, tra Vaccai e Bellini 57 VI Indice Mario Tedeschi Turco Dante, Verona e «la mia povera Giulietta»: sul Romeo e Giulietta di Filippo Marchetti e Marcelliano Marcello 73 Jean-Christophe Branger Massenet et Shakespeare: une occasion manquée 87 Federico Fornoni Uno Shakespeare Secondo Impero: Roméo et Juliette di Gounod 95 Maria Ida Biggi Scenografie ottocentesche per gli adattamenti operistici di Romeo e Giulietta 111 Lowell Gallagher Juliet incognita: Berlioz’s symphonie dramatique, Gounod’s Roméo et Juliette, and the migration of Juliette’s music into Hollywood film 125 Vincenzina C. Ottomano Oltre l’opera: la «teatralità trasfigurata» diRomeo and Juliet nella poetica di Pëtr Il’icˇ Cˇ ajkovskij 137 Adriana Guarnieri Corazzol La tragedia Giulietta e Romeo di Zandonai: le fonti, il libretto, la lavorazione 159 Riccardo Pecci «The Most Excellent and Lamentable Tragedy» del Terzo Reich: Romeo und Julia di Heinrich Sutermeister 171 Michele Girardi «There’s a place for us»: Giulietta e Romeo nel West-Side 187 Giordano Ferrari Les jeux interdits de Roméo et Juliette 201 Sandra Pietrini Amarsi da morire: la scena finale diRomeo e Giulietta nell’iconografia dell’Ottocento 211 Indice dei nomi 231 Maria Ida Biggi* Introduction The Fondazione Giorgio Cini Institute of Theatre and Opera very enthusiasti- cally welcomed the idea of taking part in the European project entitled Shake- speare In and Beyond the Ghetto: Staging Europe Across Cultures, devoted to the great playwright who has always symbolised theatre worldwide. The aim was to explore, develop and disseminate Shakespeare’s work as a way of marking both the 400th anniversary of his death and the 500th anniversary of the foundation of the Venice Ghetto. Given the importance of these historic anniversaries, an ambitious, wide-ranging programme of events was devised in line with the pro- posed objectives. Besides the project leader Ca’ Foscari University, Venice, other prestigious international institutions were involved in the events: the University of Warwick, Queen Mary University, London, the Ludwig-Maximilians-Universität, Munich and the Tony Bulandra Theatre, Targoviste. In the context of this three-year project (2016-2018), the Fondazione Giorgio Cini organised and coordinated a summer school, two workshops and a large international scholarly conference, the proceedings of which are published here. In July 2016, in collaboration with Ca’ Foscari University, Venice and under the patronage of the Committee for Five Hundred Years of the Venice Ghetto, the Institute of Theatre and Opera organised the second edition of the Shake- speare in Venice Summer School. The Shylock Project: a two-week programme of intensive studies involving many internationally renowned experts and univer- sity teachers with numerous events also open to the public. The first edition of the Summer School, in 2015, had initiated the three years of celebrations, while the 2016 Summer School was held in concomitance with the first ever staging of Shakespeare’s Merchant of Venice in the Venice Ghetto by the American-based * Professor at Ca’ Foscari University, Venice, and Director of the Fondazione Giorgio Cini Institute of Theatre and Opera. VIII Introduction company La Compagnia de’ Colombari, Campo del Ghetto Novo, 26 July – 1 August 2016. The first of the workshops promoted by the Fondazione Cini was held on the Island of San Giorgio in November 2016. Entitled Shylock after Shylock – Shake- speare’s Masks and coordinated by the Compagnia Pantakin from Venice, it fo- cused on some Shakespearian characters and the way they had been influenced by the maschere (“masks” or stock characters) of Commedia dell’Arte. As part of the second workshop, The Music of the Merchant, the Lucidarium Ensemble led classes on singing, wind instruments, tambourines and historical percussion to create a journey into the soundscape of 16th-century Venice. On the Island of San Giorgio from 24 to 30 July 2017, the musicians addressed a repertoire of dances and mascherate associated with Commedia dell’Arte and Carnival, Jewish songs, and liturgies and paraliturgies from the Hebrew oral tradition. The last event promoted by the Institute of Theatre and Opera was a con- ference on “Shakespeare in Opera. Rewritings and Productions of Romeo and Juliet and The Merchant of Venice”. The conference set out to explore operatic versions of the two Shakespearean plays. Musicologists, drama historians and playwrights analysed the contexts in which the musical productions of Shake- speare’s plays developed. In fact, from the early 17th century to the present day, they have been a constant source of inspiration for librettists and composers. During the conference, an abridged version of The Merchant of Venice was per- formed by Davide Lorenzo Palla and staged as part of the Tournée da Bar pro- ject. The involvement of the Institute and my own personal commitment have reached completion with the publication of these proceedings, which we hope will go to form the initial legacy that an international project of this calibre must inevitably aspire to create. Shaul Bassi* Foreword Two landmark anniversaries coincided in 2016: the 400th anniversary of William Shakespeare’s death and the 500th anniversary of the foundation of the Jewish Ghetto of Venice, a place that provided the world with the concept of the “ghet- to”, as well as the historical backdrop to Shakespeare’s controversial play, The Merchant of Venice. The Creative Europe project Shakespeare In and Beyond the Ghetto: Staging Europe Across Cultures drew on these two momentous events to reflect and respond creatively to the legacy of European racism and tolerance, and to the remarkable variety of cross-cultural exchanges engendered by the Ghetto’s creation and the performance of Shakespeare’s play. The Ghetto and Shakespeare’s play are fundamentally ambivalent documents of European civi- lization, operating both as instruments of intolerance and catalysts for cultural exchange. The project focal point was the first ever promenade production of The Merchant of Venice in the Ghetto, a historic premiere that brought into a creative relationship two milestones of European intangible and tangible heri- tage. The various artistic and civic components of the play and the performance were then given a broader European dimension through various symposia and artistic workshops, programmed across three years and four countries. Six part- ners cooperated: Ca’ Foscari University of Venice (project leader), Fondazione Giorgio Cini (Venice), University of Warwick, Queen Mary University of Lon- don, Ludwig-Maximilians-Universität München, and Tony Bulandra Municipal Theatre in Târgovis‚te, Rumania. The Institute of Theatre and Opera at Fondazione Giorgio Cini played a key role. It hosted the Shakespeare in Venice Summer School, where leading scholars joined the Colombari company to prepare the performance in the Ghetto, and three workshops. Shakespeare in Opera gave an opportunity to analyze the rela- tionship and contexts of Shakespeare and Opera, starting from the fact that The * Professor at Ca’ Foscari University, Venice, and Shakespeare In and Beyond the Ghetto project leader. X Foreword Merchant of Venice has had little representation in the operatic