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Jana Declerck Promotor: Prof. dr. Francis Maes Vakgroep Kunst-, Muziek-, en Theaterwetenschappen Decaan: Prof. dr. Freddy Mortier Rector: Prof. dr. Paul Van Cauwenberge Faculteit Letteren en Wijsbegeerte Jana Declerck Il Trovatore en Simon Boccanegra: twee Spaanse libretti van Verdi - een musicologische studie met toepassing van de aristotelische principes Masterproef voorgedragen tot het bekomen van de graad van Master in de Kunstwetenschappen – Musicologie 2010 Woord vooraf In deze musicologische studie worden twee opera’s van Giuseppe Verdi in de schijnwerpers gezet, Il Trovatore en Simon Boccanegra. Door de gemeenschappelijke taal van de twee originele Spaanse toneelstukken wordt de keuze voor deze twee dramma per musica rechtstreeks ingegeven. Deze opera’s maken deel uit van de drie Spaanse libretti van Verdi, het derde is La Forza del Destino naar het drama van Duque de Rivas. Deze masterproef behandelt Verdi’s opera’s Il Trovatore en Simon Boccanegra, die de twee drama’s van Antonio García Gutiérrez als uitgangspunt nemen. De plotstructuur van deze Spaanse libretti wordt vaak omschreven in de hedendaagse receptie van deze opera’s en in muziekrecensies1 als onrealistisch, met onwaarschijnlijke dramatische wendingen die de logica tarten en met uitzonderlijk hoge concentraties van dramatische verwikkelingen. De moderne drama’s die een realistische weergave beogen zijn alom vertegenwoordigd in de twintigste eeuw. Het contrast is des te groter in deze drie Spaanse libretti, waar de buitensporige plotstructuren de rechtlijnigheid en causale relaties tussen de handelingen met de voeten treden. Er wordt gewezen op de verantwoordelijke rol van het Spaanse toneelstuk waarop het libretto zich gebaseerd heeft om het aandeel van de onverklaarbare of onsamenhangende dramatische knopen in het libretto te begrijpen. Het verschil met andere libretti - die zich hoofdzakelijk op Franse, Engelse of Duitse literaire werken hebben gericht2 - ligt in de aard van het dramatische concept dat een zeker realiteitsgehalte mist. Het ontbreken van dergelijke logische imitatie van de werkelijkheid in de drie opera’s die op Spaanse toneelstukken zijn gebaseerd, doet vermoeden dat het zijn oorzaak vindt in de Spaanse bronnen. Het is nodig te nuanceren dat de Spaanse libretti, alhoewel ze niet tot de hoofdmoot van de romantische operaonderwerpen behoren, toch resoneren met gelijkaardige romantische dramaconcepten in Franse, Engelse en Duitse drama’s. 1 Onder andere in The Opera Quarterly, Opera News, Cambridge Opera Journal 2 DE VAN, GILLES: Verdi – un théâtre en musique; Librairie Arthème Fayard; 1992: 64-68 I De vraag luidt waarom Verdi deze Spaanse drama’s als basis voor zijn libretti heeft gekozen, in de hoop dat de Spaanse taal niet de enige gemeenschappelijke factor is. Verdi’s vorige persoonlijke keuzes voor Franse, Engelse of Duitse drama’s waren op één lijn met de Italiaanse negentiende-eeuwse literaire smaak. De vraag is dan waarom de afwijkende keuze voor Spaanse drama’s gemaakt is. Wat zijn de elementen die Verdi aanspraken om deze Spaanse drama’s om te vormen in bruikbare libretti voor zijn opera’s? Het antwoord dat deze masterproef tracht te onderzoeken, wordt via de dramatische, musicologische en musico-dramatische analyse van de opera’s geformuleerd. Vooraleer met de analyse aan te vangen, wordt de huidige stand van zaken in het verdiaanse onderzoek gepresenteerd. Om de opera’s tot stand te brengen, hield Verdi rekening met de toenmalige culturele, politieke en economische situatie, met de Spaanse toneelstukken die ten grondslag liggen aan de opera’s en met de Italiaanse operaconventies. De analyse van de Spaanse toneelstukken, de Italiaanse libretti en de partituren concentreert zich op een drievoudig plan: de dramatische analyse met behulp van de tekstinhoud en de plotstructuur; verder de musicologische analyse die de band van het woord en de muziek benadrukt; en tenslotte de rituele betekenis van de opera, toegepast aan de hand van theatertheorieën van Aristoteles via de dramatische principes en de katharsis. Met behulp van Brechts theatertheorie kan zijn episch theater een antwoord geven op de episodische plotstructuur. Via het discours van René Girard wordt kort ingegaan op rituele mechanismen in de maatschappij; en Martha Nussbaum brengt helderheid over de uitdrukking van emoties en het effect van muziek op het publiek. De methodologie wordt met een vergelijkbare analysemethode toegepast op de twee opera’s. De literatuurlijst spreekt voor zich en de belangrijkste bronnen worden in het overzicht in de status quaestionis vermeld. Dankwoord Oprechte en overvloedige dank gaat uit naar de Biblioteca del Dipartimento delle Discipline dell’Arte, della Musica e dello Spettacolo en de Biblioteca Sala Borsa te Bologna. Ik wil graag mijn dank betuigen aan prof. Lorenzo Bianconi voor zijn kundige advies en aan mijn promotor prof. dr. Francis Maes voor zijn levendige inzicht in de verdiaanse materie en zijn hulpvaardige raad bij het onderzoek. Met dank aan mijn kotgenoten die zo tolerant grimasten tijdens de sopraanhoogten terwijl ik de opera’s herhaaldelijk beluisterde. Ik ben grote dank verschuldigd aan mijn leerkrachten Grieks en Latijn E. Dhaene, D. Maes, A. Herregodts, die me altijd gestimuleerd hebben om verder dan de vormen van de verzen te kijken en om mijn horizon te verruimen. Tot slot, een immens dankwoord aan mijn ouders die me met liefdevolle raad en daad hebben gesteund. II Inhoudsopgave Woord vooraf I Inhoudsopgave III 1. Status quaestionis Il Trovatore – Simon Boccanegra 1 1.1. Il Trovatore – Een afgesloten hoofdstuk? 8 1.2. Simon Boccanegra – Aanstormende belangstelling? 11 1.3. Verdi en Spaanse opera-onderwerpen 14 1.4. Werkwijze op drie fronten 19 2. Il Trovatore 23 2.1. Het libretto 23 2.1.1. Het libretto en de bronnen van Il Trovatore 23 2.1.2. Il Trovatore en El Trovador 26 2.1.3. De genese van Il Trovatore 32 2.1.4. De personages van Il Trovatore – Een vergelijking van inhoud en vorm 35 2.1.5. Metriek en dramatische functie 45 2.2. Muziekanalyse van Il Trovatore: Structurele elementen 51 2.2.1. Dramatische structuur van het libretto 51 2.2.2. Muzikale structuur 53 2.2.3. Musico-dramatische structuur 55 2.3. Muziekanalyse van Il Trovatore: Muzikale elementen 57 2.3.1. Tonaliteiten en modulaties 57 2.3.2. Melodie 59 2.3.3. Ritme 61 2.3.4. Instrumentatie 61 2.3.5. Personages en stemmen 63 2.3.6. Enkele musico-dramatische structuren 67 2.4. Een lezing van Il Trovatore: Opera als waarheid 72 2.4.1. Over de niet-aristotelische structuur van Il Trovatore 74 III 2.4.2. Thematiek 85 2.4.3. De dramatische functie van de katharsis 99 3. Simon Boccanegra 104 3.1. Het libretto 104 3.1.1. Het libretto en de bronnen van Simon Boccanegra 104 3.1.2. Simon Boccanegra en Simón Bocanegra 105 3.1.3. De genese van Simon Boccanegra 106 3.1.4. De personages van Simon Boccanegra – Een vergelijking van inhoud en vorm 109 3.1.5. Metriek en dramatische functie 126 3.2. Muziekanalyse van Simon Boccanegra: Structurele elementen 129 3.2.1. Dramatische structuur van het libretto 129 3.2.2. Muzikale structuur 135 3.2.3. Musico-dramatische structuur 137 3.3. Muziekanalyse van Simon Boccanegra: Muzikale elementen 138 3.3.1. Tonaliteiten en modulaties 138 3.3.2. Melodische, ritmische en metrische elementen 142 3.3.3. Instrumentatie 145 3.3.4. Personages en stemmen 146 3.4. Een lezing van Simon Boccanegra: Opera als zoektocht naar vergeving 149 3.4.1. Over de niet-aristotelische structuur van Simon Boccanegra 150 3.4.2. Thematiek 154 3.4.3. De dramatische functie van de katharsis 160 4. Slotbeschouwing van Il Trovatore en Simon Boccanegra 163 5. Lijst van figuren en tabellen 171 6. Appendix 172 1a. Muzikale nummers van Il Trovatore (1853) 1b. Muzikale nummers van Simon Boccanegra (1881) 2. Afbeelding Nuda Veritas G. Klimt (1889) 3. Musicologische analyse van Il Trovatore 7. Literatuurlijst 185 IV 1. Status quaestionis Il Trovatore – Simon Boccanegra In deze status quaestionis worden drie vragen gesteld. Ten eerste worden de studies, theorieën en polemiek die toonaangevend zijn in het internationale verdiaanse onderzoek naar de opera’s en Verdi behandeld. Aansluitend wordt de studie van het libretto en de aangewende bronnen besproken. Ten tweede worden de studies over de opera’s toegelicht, teneinde de lezer op weg te zetten met een basiskennis over Il Trovatore en Simon Boccanegra.3 In de volgende hoofdstukken, telkens gewijd aan één opera, worden de ideeën verder ontwikkeld. Ten derde wordt er gepeild naar wat er gekend is over de stelling van deze masterproef, de vraag waarom Verdi voor deze Spaanse libretti heeft gekozen. Ten slotte wordt de werkwijze besproken. Studies, theorieën en polemiek Ten eerste reikt G.W. Harwood een globaal overzicht aan in zijn essay Verdi Criticism4. In de tweede helft van de negentiende eeuw genoot Verdi een reputatie van wat Harwood verwoordt als ‘the undisputed living master of Italian opera’. Deze faam lokte een enorme hoeveelheid kritische literatuur uit. Toenmalige nieuwe domeinen in de muziekkritiek waren onder andere Verdi’s historische plaats, zijn stijlveranderingen en zijn muziekesthetische verhouding tot Wagner en de verismo-componisten.5 Harwood claimt dat het onderzoek naar de muziekjournalistiek en muziekkritiek van de negentiende eeuw nog in de kinderschoenen staat en dat het dus een toekomstige studie kan verwachten. 3 De titels van de opera’s Il Trovatore en Simon Boccanegra worden na het Woord vooraf niet meer cursief geschreven. De titels van de Spaanse toneelstukken waarop de opera’s gebaseerd zijn, worden wel cursief gedrukt. 4 HARWOOD, G.W.: Verdi criticism; in The Verdi Companion to Verdi; Ed. Scott L. Balthazar; Cambridge University Press; Cambridge, UK; eerste druk; 2004: 269-281; Voor specifieke bibliografie, zie onder meer PORTER, ANDREW: A Select Bibliography; in WEAVER, WILLIAM (Ed.) & CHUSID, MARTIN (Ed.): The Verdi Companion; W.W. Norton & Company, Inc.; Norfolk UK; 1979: 239-254 5 HARWOOD, G.W.: Verdi criticism; in The Verdi Companion to Verdi; Ed.
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