{"id":23108,"date":"2016-08-30T00:00:00","date_gmt":"2016-08-29T22:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2016\/08\/30\/aspects-du-baroque-italien\/"},"modified":"2024-08-16T12:13:14","modified_gmt":"2024-08-16T10:13:14","slug":"aspects-du-baroque-italien","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2016\/08\/aspects-du-baroque-italien","title":{"rendered":"Aspetti del barocco italiano"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Veronese-Les-Noces-de-Cana-detail-Kopie.jpg\" alt=\"\" width=\"554\" height=\"414\" \/><figcaption class=\"wp-caption-text\">Veronese: Le nozze di Cana (particolare), 1562\/63. <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Paolo_Veronese_008.jpg\" target=\"_blank\" rel=\"noopener\">Collezione del Louvre \/ wikimedia commons<\/a><\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>In questo libro lussuoso ma accessibile, Olivier Lexa riassume i vari aspetti della musica veneziana del Seicento e della prima met\u00e0 del Settecento. Il libro \u00e8 arricchito da numerose e sontuose riproduzioni - anche a pagina intera e a due pagine - di affreschi, dipinti, incisioni, disegni, caricature di cantanti di Zanetti e interni di palazzi, che rappresentano l'arte di Euterpe, cos\u00ec presente nelle belle arti veneziane dell'epoca - alcuni dei pittori stessi sono musicisti di alto livello. Nel corso dei capitoli, il percorso della Serenissima ci riporta alla nascita dell'opera lirica, alla sua apertura al grande pubblico, alle sue macchine spettacolari, ai barcarolles, alla musica sacra, agli ospedali, ai legami con l'Oriente, alla musica nelle sinagoghe e a molti altri temi. Mentre Venezia iniziava il suo lento e inesorabile declino, conobbe una vera e propria fioritura artistica, in piena libert\u00e0 (anche di pensiero) grazie soprattutto alla separazione tra Stato e Chiesa, unica in Europa all'epoca. Questa indipendenza, vilipesa da Roma, permise la fioritura di un'arte laica puramente strumentale (sonate, poi concerti), oltre che di cantate e opere. L'apertura dei teatri lirici al grande pubblico rientrava nel desiderio delle oligarchie a capo della Repubblica di dimostrare la propria opulenza.<\/p>\n<dl class=\"picture media photo\">\n<dt>\n<figure style=\"width: 180px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"media photo\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Antonio-Maria-Zanetti-caricature-de-Farinelli_KLEIN.jpg\" alt=\"Image \" width=\"180\" height=\"257\" \/><figcaption class=\"wp-caption-text\">Antonio Maria Zanetti: Caricatura di Farinelli<\/figcaption><\/figure><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p>La differenza con Roma era impressionante: nella talassocrazia, i sacerdoti potevano partecipare alle opere, i conventi potevano mettere in scena opere nei loro conventi e le ragazze potevano cantare in chiesa, mentre a Roma, alle donne era vietato non solo partecipare alla liturgia, ma anche all'opera (i ruoli femminili erano interpretati principalmente da castrati) e al teatro - persino le marionette femminili erano vietate!<\/p>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Venise.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<p>Nel libro di Patrick Barbier sulla Roma barocca non ci sono illustrazioni, ma un resoconto dettagliato e colorato della vita musicale e artistica della Citt\u00e0 Eterna. Attingendo alle cronache scritte dai romani dell'epoca, ai resoconti dei viaggiatori, alla corrispondenza e alle memorie, l'autore evoca anche la citt\u00e0 e la sua societ\u00e0 in un'affascinante immersione nella vita quotidiana dell'Urbs rimodellata da Bernini e Borromini, una citt\u00e0 piena di contrasti in cui regnavano l'assolutismo pontificio e il nepotismo: la fortuna di una famiglia era assicurata non appena da essa proveniva un papa. Mentre alcuni pontefici erano liberali e incoraggiavano le arti (a partire da Urbano VIII, poeta, e Clemente IX, librettista d'opera), altri erano devotamente ostili: il primo teatro d'opera pubblico di Roma fu addirittura demolito con il pretesto che incitava al vizio. Tuttavia, la citt\u00e0 in cui nacque l'oratorio non era immune dalle attrazioni del profano e del carnevale. Anche ai prelati era vietato assistere a spettacoli profani, ma lo facevano nascosti dietro le grate.<\/p>\n<p>La pompa e lo sfarzo dei teatri della fede della Controriforma non avevano talvolta nulla da invidiare agli spettacoli pi\u00f9 sfolgoranti. Mentre la Cappella Pontificia rimaneva congelata nel conservatorismo palestriniano e si limitava a un repertorio ristretto, la Cappella Giulia, che animava la Basilica di San Pietro, era aperta alla musica barocca e a spettacolari spazializzazioni policorali, tra cui in particolare un lontano \"coro di angeli\" posto alla base della cupola, a 50 metri dal suolo. Altre grandi chiese e congregazioni avevano cori pi\u00f9 piccoli, che per\u00f2 potevano essere aumentati in occasione di celebrazioni importanti fino a raggiungere proporzioni monumentali (otto, dieci o addirittura dodici cori). Per quanto riguarda i palazzi privati, questi non erano da meno e la musica veniva messa in primo piano sia dalla straordinaria e stravagante Cristina di Svezia sia dai cardinali mecenati Pamphilj e Ottoboni.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo pos-2\">\n<dt><img decoding=\"async\" class=\"media photo pos-2 aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Grasset.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Olivier Lexa, La Musique \u00e0 Venise de Monteverdi \u00e0 Vivaldi, 200 p., \u20ac 35,00, Actes Sud, Arles 2015, ISBN 978-2-330-05700-8<\/em><\/p>\n<p><em>Patrick Barbier, Voyage dans la Rome baroque. Il Vaticano, i principi e le feste musicali, 288 p., \u20ac 19,00, Grasset, Parigi 2016, ISBN 978-2-246-80885-5<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Due musicografi appassionati dell'Italia barocca presentano la vita musicale nelle due citt\u00e0 rivali di Venezia e Roma tra il 1600 e il 1750.<\/strong><\/p>","protected":false},"author":1,"featured_media":23109,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1616],"tags":[],"class_list":["post-23108","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Aspects du 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