{"id":30039,"date":"2024-01-23T10:46:30","date_gmt":"2024-01-23T09:46:30","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=30039"},"modified":"2024-03-27T10:32:21","modified_gmt":"2024-03-27T09:32:21","slug":"bach-et-lopera-allemand","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2024\/01\/bach-et-lopera-allemand","title":{"rendered":"Bach e l'opera tedesca - Rossini senza favola"},"content":{"rendered":"
\"\"
Johann Sebastian Bach, dipinto da Elias Gottlob Haussmann, e Gioachino Rossini, fotografato da Nadar. Wikimedia commons<\/figcaption><\/figure>\n

Un'opera concisa, densa ed erudita, pubblicata da Les Belles Lettres e scritta da Gilles Cantagrel, analizza le ragioni per cui Bach, di cui \u00e8 uno specialista riconosciuto, non ha lasciato opere sceniche. Inizia con una panoramica del repertorio operistico tedesco, dai suoi lenti inizi (Dafne<\/em> di Sch\u00fctz, la cui partitura \u00e8 andata perduta, nel 1627; il primo teatro lirico apr\u00ec ad Amburgo solo nel 1677) a met\u00e0 del XVIII secolo.e<\/sup> La scrittura per il palcoscenico di Bach, realizzata a met\u00e0 del XIX secolo, comprende compositori dimenticati come Johann Wolfgang Franck, Johann Sigismund Kusser e Nicolaus Adam Strungk, ma anche compositori pi\u00f9 illustri come Carl Heinrich Graun, Reinhard Keiser e Telemann. Sebbene Bach si recasse volentieri a Dresda per ascoltare le opere di Hasse, che conosceva bene, a quanto pare la scrittura per il palcoscenico non lo tentava. Tuttavia, sia nelle cantate profane che in quelle sacre, il cantore di Lipsia sapeva come rappresentare con finezza uno stato psicologico. Nella codificazione dell'epoca si trovano persino brani operistici veri e propri: intermezzi pastorali, tempeste, arie di sonno come La sicurezza pu\u00f2 essere assicurata<\/em> nella cantata cyn\u00e9g\u00e9tique BWV 208, un lamento amoroso come Con il Verlangen druck'ich deine zarten Wangen<\/em> dove Ph\u00e9bus-Apollon piange la morte dell'amata Hyacinthe (estratto dal dramma per musica BWV 201), o un autentico intermezzo come il Caff\u00e8 cantato<\/em>. Ma l'autore sottolinea quanto le due monumentali passioni formino azioni drammatiche la cui teatralit\u00e0 ed espressivit\u00e0 superano quelle di altri oratori barocchi. Se Bach non compose un'opera, forse fu semplicemente perch\u00e9 non ne sentiva il bisogno.\"\"Gilles Cantagrel: Bach n'a pas \u00e9crit d'op\u00e9ra, 116 p., \u20ac 11,50, Les Belles Lettres, Paris 2023, ISBN 978-2-251-45444-3<\/em><\/p>\n

Sebbene abbia trascorso gran parte della sua vita in Francia, dove furono rappresentate le sue ultime opere, Rossini \u00e8 stato a lungo trascurato dalla musicografia, tranne che nel periodo romantico, quando fiorirono le biografie romanzate, come quella scritta da Stendhal. La monografia dello storico Gr\u00e9goire Ayala, recentemente pubblicata dalle Editions Premi\u00e8res Loges, \u00e8 un'esplorazione inedita della vita del maestro pesarese nel mondo francofono, liberata da un lato da aneddoti generalmente fittizi e messa in luce dall'altro dalla sua corrispondenza, una fonte finora poco sfruttata che getta una luce inaspettata sul suo destino, la sua opera e il suo pensiero. Sebbene il biografo non si addentri nello studio musicale dettagliato delle composizioni, spiega come sono nate e come sono state realizzate, fornendo un contesto storico dell'arte di Rossini. Rivela inoltre la sensibilit\u00e0, la profondit\u00e0 e le contraddizioni dell'autore di Guglielmo Tell<\/em> (spesso offuscato tanto da un atteggiamento falsamente disinvolto dell'artista stesso quanto da persistenti luoghi comuni), introducendo il lettore nell'intimit\u00e0 di Rossini, dalla sua giovinezza in un ambiente operaio al suo lungo ritiro, pi\u00f9 attivo di quanto sembri, passando per la sua fulminea carriera che ha rivoluzionato il palcoscenico in meno di due decenni.\"\"<\/p>\n

Gr\u00e9goire Ayala: Rossini \u00e0 la lettre, 446 p., \u20ac 25,00, Premi\u00e8res Loges, Paris 2023, ISBN 978-2-84385-438-5<\/em><\/p>","protected":false},"excerpt":{"rendered":"

Due recenti pubblicazioni cercano di risolvere le seguenti questioni: Perch\u00e9 Bach non ha composto un'opera? Qual era la vera personalit\u00e0 di Rossini?<\/p>","protected":false},"author":1,"featured_media":30043,"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":[1911,1906,1908,1909,1907,1910],"class_list":["post-30039","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions","tag-biographie","tag-gilles-cantagrel","tag-gioachino-rossini","tag-gregoire-ayala","tag-johann-sebastian-bach","tag-opera"],"acf":[],"yoast_head":"\nBach et l\u2019op\u00e9ra allemand \u2013 Rossini sans fable - Revue Musicale Suisse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2024\/01\/bach-et-lopera-allemand\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bach et l\u2019op\u00e9ra allemand \u2013 Rossini sans fable - Revue Musicale Suisse\" \/>\n<meta property=\"og:description\" content=\"Deux publications r\u00e9centes s\u2019attachent \u00e0 r\u00e9soudre les questions suivantes : Pourquoi Bach n\u2019a-t-il pas compos\u00e9 d\u2019op\u00e9ra ? 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