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Dissertazione Di Dottorato FACOLTÀ DI LETTERE DELL’UNIVERSITÀ DI BERNA ISTITUTO DI MUSICOLOGIA Dissertazione di dottorato La ricezione dell’opera russa tra Ottocento e Novecento in Francia e Italia VINCENZINA C. OTTOMANO Originaldokument gespeichert auf dem Webserver der Universitätsbibliothek Bern | downloaded: 6.10.2021 Dieses Werk ist unter einem Creative Commons Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung 2.5 Schweiz Lizenzvertrag lizenziert. Um die Lizenz anzusehen, gehen Sie bitte zu http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ oder schicken Sie einen Brief an Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA. https://doi.org/10.48549/2485 source: Urheberrechtlicher Hinweis Dieses Dokument steht unter einer Lizenz der Creative Commons Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung 2.5 Schweiz. http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ Sie dürfen: dieses Werk vervielfältigen, verbreiten und öffentlich zugänglich machen Zu den folgenden Bedingungen: Namensnennung. Sie müssen den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen (wodurch aber nicht der Eindruck entstehen darf, Sie oder die Nutzung des Werkes durch Sie würden entlohnt). Keine kommerzielle Nutzung. Dieses Werk darf nicht für kommerzielle Zwecke verwendet werden. Keine Bearbeitung. Dieses Werk darf nicht bearbeitet oder in anderer Weise verändert werden. Im Falle einer Verbreitung müssen Sie anderen die Lizenzbedingungen, unter welche dieses Werk fällt, mitteilen. Jede der vorgenannten Bedingungen kann aufgehoben werden, sofern Sie die Einwilligung des Rechteinhabers dazu erhalten. Diese Lizenz lässt die Urheberpersönlichkeitsrechte nach Schweizer Recht unberührt. Eine ausführliche Fassung des Lizenzvertrags befindet sich unter http://creativecommons.org/licenses/by-nc-nd/2.5/ch/legalcode.de Indice Introduzione Voci e Suoni dalla Russia: le prime rappresentazioni all’estero pag. 5 1. Жизнь за Царя e il primo immaginario sonoro della Russia 1.1 Una vita per lo Czar a Milano » 15 1.2 La Vie pour le Tsar chez le baron von Derwies » 52 1.3 La Vie pour le Tsar musica per un’alleanza a Nice » 61 1.4 La Vie pour le Tsar «moutarde après dîner» à Paris » 74 2. César Cui e il «démi- russo» 2.1 Le Prisonnier du Caucase liberato a Liège » 93 2.2 Le Flibustier «sans rien changer» a Parigi » 108 3. Pëtr Il’ič Čajkovskij e il «mezzo termine» 3.1 Evgenij Onegin «sans aptitude dramatique» » 123 3.2 Per finire: pronunciate «Anièghin» » 145 4. «Paris vaut bien une… mise en scène»: Djagilev e le stagioni russe 4.1 Cinq Concerts historiques russes » 162 4.2 Intermezzo: «Vers de nouveaux rivages!» à Paris et Moscou » 182 4.3 Boris Godunov: «useful from the national point of view» à Paris » 196 4.4 La Saison Russe allo Châtelet » 215 5. Modest Musorgskij e il «tremendamente russo» 5.1 Boris Godunov ovvero dell’anarchismo meditato alla Scala » 234 5.2 Epilogo oltre Boris: musica per un «accordo» a Racconigi » 253 Postludio Que reste-t-il… » 263 Bibliografia » 276 Alla Uetliberg vetta di ambizioni, promessa di riuscita La ricezione dell’opera russa tra Ottocento e Novecento in Francia e Italia Introduzione Voci e Suoni dalla Russia: le prime rappresentazioni all’estero Indagare i fenomeni della ricezione musicale significa addentrasi in un complesso codice di comunicazione che pone l’uno di fronte all’altro due possibili interlocutori, legati da un certo numero di “nessi di eventi” e accomunati da uno o più “orizzonti d’attesa”.1 Come attestato dalle teorie di Hans Robert Jauss e della cosiddetta “Scuola di Costanza”, ma anche delle più recenti riflessioni sullo specifico musicale, un lavoro che si prefigge di affrontare il tema «ricezione» è chiamato a decifrare una dimensione sintattica dell’evento – ossia l’insieme delle sue funzioni – e a riordinare così i possibili «significati», per ricostruire una dimensione semantica capace di restituire e rendere intellegibile il fenomeno nel suo complesso.2 Nel nostro caso, siamo di fronte a due universi, quello occidentale e quello russo, che tra Ottocento e Novecento entrano in contatto tra loro in una nuova e riformulata dimensione. Questi due “comunicatori”, però, non sono estranei, anzi vivono di una conoscenza di lunga data, fatta di esperienze che, nell’ambito musicale, li hanno reciprocamente coinvolti. Ma la ricezione che interessava i paesi occidentali e la Russia fino alla seconda metà del XIX secolo rappresentava un modello completamente capovolto rispetto a quello che proponiamo nel nostro lavoro: in un equilibrio di forze tra recepito e “soggetto” che recepisce, la Russia, almeno fino al 1870, giocava un ruolo subalterno; nell’esempio comunicativo, cioè, “si sottoponeva” letteralmente a un’esperienza di fruizione univoca del prodotto musicale estero. La politica di auto-colonialismo culturale dei secoli XVII-XVIII, che aveva significato una vera e propria importazione di artisti, troupes operistiche e repertorio da mettere in scena a Mosca e San Pietroburgo, aveva di fatto inibito lo sviluppo di una tradizione 1 Si veda HANS ROBERT JAUSS, Literaturgeschichte als Provokation, Frankfurt am Main, Suhrkamp, 1970. 2 Si legga l’Introduzione a L’esperienza musicale: teoria e storia della ricezione, a cura di Gianmario Borio e Michela Garda, Torino, EDT, 1989, pp. 1-35. 5 Voci e Suoni dalla Russia: le prime rappresentazioni all’estero operistica autoctona ma anche incrementato la costruzione di tutta un’immagine della Russia all’estero che la dipingeva con le tinte di barbarismo e inciviltà. Questo stereotipo di «nazione incolta» continuò anche quando i primi tentativi di stimolare la produzione musicale locale implicarono la formazione all’estero dei compositori: la tradizione del tour europeo che in Russia fu inaugurata da compositori quali Dmitrij Bortnjanskij e Maksim Berezovkij – inviati direttamente dall’imperatrice Caterina II a “studiare” in Italia – e continuata fino a Glinka che frequenta le lezioni di Francesco Basily in Italia e di Siegfried Dehn in Germania, contribuì ad alimentare l’immaginario di una nazione «senza musica».3 Certo, era assolutamente naturale che la mancanza di un solido repertorio operistico implicasse molto spesso la rivisitazione di stilemi, formule e convenzioni di tradizioni appartenenti all’Italia alla Francia o in qualche caso anche alla Germania. Ma questa standardizzazione dell’universo musicale russo perdurò anche al di là dei limiti cronologici imposti dall’avvento di Glinka, Dargomyžskij e poi della «Mogučaja kučka», impedendo molto spesso di riconsiderare e riconoscere all’opera russa la sua giusta dignità di opera d’arte. Questa valutazione, trasformatasi ormai in pregiudizio, si perpetuava anche a causa delle particolari condizioni del sistema produttivo operistico in Russia che ancora fino alla destituzione dello zar Nikolaj II continuava nella tradizione di sostenere troupes italiane stabili, che molto spesso rappresentavano le stesse opere di compositori autoctoni in traduzione italiana. In un certo senso, quindi, perdurava l’idea che nonostante la profonda rivoluzione musicale di metà Ottocento, la Russia fosse comunque impreparata e non all’altezza di entrare a far parte di quella triade storica che vedeva Italia, Francia e Germania concorrenti sul terreno dell’opera lirica. La cecità intellettuale che colpiva l’Occidente dovette fare i conti con le accelerazioni del fin de siècle e con il bilancio non sempre positivo di un secolo, l’Ottocento, vissuto all’ombra di rivoluzioni, aspirazioni nazionali e aneliti unitari. 3 Sul complesso problema della storiografia musicale della Russia pre-Glinka si veda: BORIS V. ASAF’EV, Russian music from the beginning of the nineteenth century, Published for American Council of Learned Societies, 1953; DOROTHEA REDEPENNING, Geschichte der russischen und der sowjetischen Musik, 2 voll., Laaber 2008; MARINA RITZAREV, Eighteenth-century Russian music, Ashgate Pub. Company, 2006 e ANNA GIUST, “Ivan Susanin” di Catterino Cavos, Torino, EDT, 2011. 6 La ricezione dell’opera russa tra Ottocento e Novecento in Francia e Italia Uno degli aspetti più interessanti del panorama che si è delineato attraverso la nostra ricerca è la constatazione che l’avvento delle prime rappresentazioni all’estero di opere russe si verifichi proprio al tramonto di quel complesso di eventi che per tutto il XIX secolo avevano interessato la formazione degli stati nazionali. L’incontro con la «scuola nazionale» russa, cioè non ha luogo in modo sincrono rispetto al fenomeno generale di rafforzamento del concetto di identità che investe storicamente anche l’Europa.4 In questo senso, l’interesse per la dimensione musicale russa arriva alla fine di un lungo processo di stabilizzazione culturale e politica di stati come Francia e Italia che, nonostante ufficialmente sembravano aver risolto il lungo percorso della costruzione di una solidità nazionale – si pensi all’Unità d’Italia e all’avvento della III Repubblica francese – avevano ancora bisogno di conferme e di proiettare la nuova inquietudine su un modello di nazionalismo, quello russo, fortemente connotato. Un giovane stato come l’Italia, che tradizionalmente non aveva avuto nessun bisogno di stringersi attorno alla definizione di «opera nazionale», sul finire dell’Ottocento, dilaniato dalla necessità di unire un paese, fatto sulla carta, ma profondamente disgiunto sul piano sociale e culturale, incominciava a interrogarsi sulla opportunità di una rinascita musicale, legata a una costruzione «primigenia» di identità italica. D’altra parte, anche l’esperienza
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