{"id":23377,"date":"2022-01-19T00:00:00","date_gmt":"2022-01-18T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2022\/01\/19\/a-la-recherche-de-reynaldo-perdu\/"},"modified":"2024-08-15T10:01:20","modified_gmt":"2024-08-15T08:01:20","slug":"a-la-recherche-de-reynaldo-perdu","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2022\/01\/a-la-recherche-de-reynaldo-perdu","title":{"rendered":"Alla ricerca del Reynaldo perduto"},"content":{"rendered":"<figure id=\"attachment_23444\" aria-describedby=\"caption-attachment-23444\" style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-23444 size-full\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2022\/01\/04rh_classe_massenet.jpg\" alt=\"\" width=\"554\" height=\"275\" srcset=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2022\/01\/04rh_classe_massenet.jpg 554w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2022\/01\/04rh_classe_massenet-300x149.jpg 300w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2022\/01\/04rh_classe_massenet-353x175.jpg 353w\" sizes=\"auto, (max-width: 554px) 100vw, 554px\" \/><figcaption id=\"caption-attachment-23444\" class=\"wp-caption-text\">Edouard Massenet con i suoi allievi. <a href=\"http:\/\/reynaldo-hahn.net\/Html\/albumphoto.htm\" target=\"_blank\" rel=\"noopener\">http:\/\/reynaldo-hahn.net\/Html\/albumphoto.htm CC BY 3.0 Unported<\/a><\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Giuseppe Clericetti, a distanza di un anno dal suo ultimo volume su Camille Saint-Sa\u00ebns, ci propone un'altra monografia dedicata al mondo musicale francese del periodo a cavallo tra Otto e Novecento. L'obiettivo principale \u00e8 quello di esplorare Reynaldo Hahn, compositore e cantante poliedrico francese della <em>belle \u00e9poque <\/em>parigina nata a Caracas, la cui figura, da molti considerata minore, \u00e8 finita nell'oblio.<\/p>\n<p>Hahn, allievo di Massenet che non riscuote grandi apprezzamenti presso il <em>Conservatorio<\/em>si fa tuttavia strada sin dall'adolescenza nei salotti parigini della fine del XIX\u00b0 secolo, in cui trova il suo ambiente naturale ed auditorio ideale, costituito dai potenti dilettanti dell'alta borghesia che lo adorano quale interprete. Il giudizio dell'epoca per la sua vena compositiva sar\u00e0 talora pi\u00f9 severo, e poco a poco Reynaldo Hahn finir\u00e0 per essere ricordato solo per alcune sue operette e per la sua relazione con Marcel Proust: inizialmente passione amorosa, poi intima amicizia forte di una profonda comunione intellettuale che dura fino alla morte dello scrittore nel 1922.<\/p>\n<p>Clericetti abbina il magistero nella ricerca musicologica all'arte del raccontare maturata nel mestiere radiofonico e ci guida alla scoperta della vita e dell'arte di Hahn con la dimestichezza del marinaio che ha imparato a conoscere bene l'oceano di carte, epistolarii e pubblicazioni del periodo, e lo fa con un delizioso gusto pettegolo che non nuoce per offrire un vivido spaccato della Parigi musicale dell'epoca. Ne emerge il ritratto finalmente tridimensionale di un aristocratico critico musicale, direttore d'orchestra con una marcata predilezione per l'opera mozartiana, splendido cantante, grande melodista e compositore di operette per una Francia bisognosa di leggerezza. La vita e il contesto dell'artista sono presi in esame, quindi i suoi scritti, tra cui figura un magnifico volume sul canto e svariate raccolte di articoli e conferenze. Infine, se non esiste ancora un catalogo esaustivo della produzione musicale di Hahn, Clericetti ci guida in una <em>passeggiata <\/em>alla scoperta della sua gradevole musica strumentale, delle sue <em>melodie<\/em> e della tanta musica di scena, delle opere e delle operette che lo renderanno famoso, proponendoci infine un elenco delle composizioni pubblicate con menzione dell'ingente numero di inediti.<\/p>\n<\/div>\n<div class=\"text-section\">\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-23445 aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2022\/01\/Hahn-Bocelli.jpg\" alt=\"\" width=\"180\" height=\"253\" srcset=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2022\/01\/Hahn-Bocelli.jpg 180w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2022\/01\/Hahn-Bocelli-125x175.jpg 125w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\" \/><\/p>\n<\/div>\n<div class=\"text-section\">\n<p><em>Giuseppe Clericetti: Reynaldo Hahn - Compositore, Interprete, Critico, pp. X+166, \u20ac 30,00, Zecchini Editore, Varese 2021, ISBN 978-88-6540-365-5<\/em><\/p>\n<\/div>\n<div>\n<p>&nbsp;<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Come si pu\u00f2 situare oggettivamente il valore di uno dei musicisti pi\u00f9 chiacchierati di un'epoca, tra le campane discordanti dell'adorazione riservatagli da un certo pubblico e della stroncatura di un'altra falange, la fuga in solitario delle avanguardie e il flair per le mode del momento?<\/p>","protected":false},"author":1,"featured_media":23444,"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-23377","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 v27.3 - 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