{"id":4223,"date":"2016-09-08T13:21:15","date_gmt":"2016-09-08T11:21:15","guid":{"rendered":"https:\/\/monitoring.patlevic.sk\/?p=4223"},"modified":"2023-01-26T13:21:58","modified_gmt":"2023-01-26T12:21:58","slug":"belcantove-hodovanie","status":"publish","type":"post","link":"https:\/\/monitoring.patlevic.sk\/?p=4223","title":{"rendered":"Belcantov\u00e9 hodovanie"},"content":{"rendered":"
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Pesaro<\/p>\n

 <\/p>\n

Rossiniovsk\u00fd festival v\u00a0\u0161armantnom jadranskom letovisku m\u00e1 nezamenite\u013en\u00fa atmosf\u00e9ru. Niet tu stopy po snobizme, dress code je neform\u00e1lny, komorn\u00e9 Teatro Rossini \u00fatuln\u00e9 a\u00a0vstupenky sa daj\u00fa obstara\u0165 v\u00a0cen\u00e1ch znate\u013ene ni\u017e\u0161\u00edch, ne\u017e b\u00fdva pri \u0161pi\u010dkov\u00fdch podujatiach zvykom. Ust\u00e1lenej festivalovej \u0161trukt\u00fare popri viacer\u00fdch koncertoch a dvoch predpoludniach venovan\u00fdch prezent\u00e1cii najlep\u0161\u00edch frekventantov Accademie Rossiniana (Cesta do Reme\u0161a) dominuj\u00fa tri opern\u00e9 produkcie (ka\u017ed\u00e1 v\u00a0\u0161tyroch predstaveniach). Po\u010das 37. ro\u010dn\u00edka (8. \u2013 20. 8.) sa na plag\u00e1te stretli nov\u00e9 divadeln\u00e9 podoby Jazernej panej a\u00a0Turka v\u00a0Taliansku a\u00a0obnoven\u00e1 inscen\u00e1cia opery Ciro in Babilonia.<\/em><\/p>\n

Belcantov\u00e1 bud\u00facnos\u0165<\/h3>\n

Od\u00a0roku 2001 je neoddelite\u013enou s\u00fa\u010das\u0165ou festivalu dramma giocoso\u00a0Cesta do Reme\u0161a\u00a0<\/em>(Il viaggio a\u00a0Reims<\/em>),\u00a0<\/em>pon\u00fakaj\u00faca v\u00e4\u010d\u0161\u00ed \u010di men\u0161\u00ed vok\u00e1lny priestor a\u017e sedemn\u00e1stim interpretom. Do Teatra Rossini sa ka\u017edoro\u010dne vracia v\u00a0rovnakej javiskovej podobe. Svie\u017eo vtipn\u00fa, vz\u0165ahovo vypointovan\u00fa, v\u00fdtvarne vkusn\u00fa inscen\u00e1ciu situovan\u00fa do k\u00fape\u013en\u00e9ho letoviska (re\u017eijn\u00e1 koncepcia Emilio Sagi, reinscen\u00e1cia Elisabetta Courir) v\u0161ak zaka\u017ed\u00fdm nap\u013a\u0148aj\u00fa in\u00ed mlad\u00ed spev\u00e1ci, vybran\u00ed spomedzi \u00fa\u010dastn\u00edkov interpreta\u010dn\u00e9ho kurzu Accademie Rossiniana. Viacer\u00ed z\u00a0nich s\u00fa dnes u\u017e svetovo vyh\u013ead\u00e1van\u00fdmi belcantov\u00fdmi \u0161pecialistami (Olga Peretyatko, Marina Rebeka, Marianna Pizzolato, Elena Tsallagova, Maxim Mironov a\u00a0i.).<\/p>\n

Tento rok v\u0161ak\u00a0Cesta do Reme\u0161a<\/em>\u00a0nemilo prekvapila kvalitat\u00edvnou nevyrovnanos\u0165ou interpretov. K\u00fdm najlep\u0161\u00ed z\u00a0nich (farebne i\u00a0technicky perspekt\u00edvny \u0161panielsky tenorista Xabier Anduaga s\u00a0prirodzen\u00fdm javiskov\u00fdm prejavom, jeho krajanka Marina Monz\u00f3 s pr\u00ed\u0165a\u017eliv\u00fdm, s\u00fdto sfarben\u00fdm sopr\u00e1nom \u010di Ruska Vasilisa Berzhanskaya disponuj\u00faca n\u00e1dhern\u00fdm tmav\u00fdm mezzosopr\u00e1nom) sa v\u00a0opernom biznise ur\u010dite nestratia, popri prevl\u00e1daj\u00facom priemere boli roz\u010darovan\u00edm slab\u00e9 v\u00fdkony talianskeho basistu Gianlucu Lentiniho v\u00a0komickom parte Dona Profonda a\u00a0(mo\u017eno indisponovan\u00e9ho?) tureck\u00e9ho basbarytonistu Ogulcana Yilmaza ako vok\u00e1lne zlyh\u00e1vaj\u00faceho Lorda Sidneyho. Nu\u017e, ani v\u00a0Pesare nie je ka\u017ed\u00fd de\u0148 nede\u013ea.<\/p>\n

Dvojn\u00e1sobn\u00fd bozk opery a filmu<\/h3>\n

Dominuj\u00facim tvorcom 37. ro\u010dn\u00edka festivalu bol re\u017eis\u00e9r Davide Livermore, podp\u00edsan\u00fd pod obnovenou inscen\u00e1ciou\u00a0Ciro in Babilonia<\/em>\u00a0z\u00a0roku 2012, aj pod novou podobou\u00a0Turka v Taliansku<\/em>. Ich bezprostredn\u00e1 bl\u00edzkos\u0165 i \u017eiv\u00e1 spomienka na predvla\u0148aj\u0161iu (nevydaren\u00fa)\u00a0Talianku v\u00a0Al\u017e\u00edri<\/em>\u00a0usved\u010duj\u00fa re\u017eis\u00e9ra z\u00a0autorecykl\u00e1cie. Livermorovi u\u010daroval film: v\u00a0Talianke<\/em>\u00a0fra\u0161kovit\u00fdm sp\u00f4sobom karikoval ak\u010dn\u00e9 bondovky, v\u00a0Cirovi<\/em>\u00a0sa pok\u00fasil konfrontova\u0165 p\u00e1tos inscena\u010dnej praxe Rossiniho doby s\u00a0p\u00e1tosom \u00e9ry nem\u00e9ho filmu a\u00a0Turkom<\/em>\u00a0n\u00e1s preniesol do talianskych filmov\u00fdch ateli\u00e9rov 50. rokov.<\/p>\n

\u010eal\u0161\u00edm prvkom, ktor\u00fd Livermore r\u00e1d pou\u017e\u00edva, je princ\u00edp divadla v divadle. V\u00a0Cirovi<\/em>\u00a0sa po\u010das predohry na javisku objavila kinos\u00e1la z\u00a020. rokov minul\u00e9ho storo\u010dia. Uv\u00e1dza\u010dky s\u00a0typick\u00fdmi \u00fa\u010desmi, bielym l\u00ed\u010den\u00edm a\u00a0srdie\u010dkov\u00fdmi \u00fastami usadili publikum, roztr\u017eit\u00fd premieta\u010d obmotan\u00fd filmov\u00fdm p\u00e1som bojoval s\u00a0neposlu\u0161n\u00fdm pr\u00edstrojom. Na pl\u00e1tne titulok \u201eRossini Opera Festival presenta\u201c uviedol staru\u010dk\u00fd nem\u00fd film o\u00a0dob\u00fdvan\u00ed Babylonu. Po chv\u00edli sa filmov\u00e9 pl\u00e1tno zdvihlo a projekcia vyk\u00fazlila kulisy kr\u00e1\u013eovsk\u00e9ho s\u00eddla, nesk\u00f4r pal\u00e1cov\u00e9 chodby, tmav\u00fa v\u00e4zensk\u00fa kobku, p\u00fa\u0161tnu krajinu so sfingami \u010di obetn\u00fd olt\u00e1r. Skuto\u010dnos\u0165, \u017ee st\u00e1le sledujeme film, pripom\u00ednali technick\u00e9 defekty typick\u00e9 pre kinematografiu dan\u00e9ho obdobia (pukliny, \u010diarky, pretrhnut\u00fd p\u00e1s), konzekventn\u00e1 \u010diernobiela farebnos\u0165 i charakteristick\u00e9 dejov\u00e9 koment\u00e1re. Antiiluz\u00edvny odstup garantovalo zap\u00e1janie div\u00e1kov z\u00a0predohry do deja.<\/p>\n

Sporn\u00fdm momentom Livermorovej koncepcie bolo pos\u00favanie \u017e\u00e1nru ku groteske.\u00a0Ciro\u00a0<\/em>je toti\u017e prv\u00fdm pokusom vtedy len dvadsa\u0165ro\u010dn\u00e9ho Rossiniho o\u00a0v\u00e1\u017enu operu, v\u00a0ktorej sa in\u0161piroval staroz\u00e1konn\u00fdm pr\u00edbehom o\u00a0obliehan\u00ed Babylonu perzsk\u00fdm kr\u00e1\u013eom Cirom. Neadekv\u00e1tne p\u00f4sobilo nielen fra\u0161kovit\u00e9 prep\u00e1janie civiln\u00e9ho a\u00a0filmov\u00e9ho diania, ale predov\u0161etk\u00fdm ilustrovanie mimoriadne n\u00e1ro\u010dn\u00fdch \u00e1ri\u00ed filmov\u00fdmi dokr\u00fatkami s\u00a0detailmi pateticky sa tv\u00e1riacich hrdinov. Nes\u00falad medzi obrazom a\u00a0zvukom bol chv\u00ed\u013eami priam irituj\u00faci.<\/p>\n

Ve\u013ek\u00e1 \u0161koda, lebo vok\u00e1lne obsadenie\u00a0Cira<\/em>\u00a0patrilo k\u00a0tomu najlep\u0161iemu, \u010do tohtoro\u010dn\u00e9 Pesaro pon\u00faklo. Opern\u00e1 matadorka, fenomen\u00e1lna kontraaltistka Ewa Podle\u015b v\u00a0titulnej postave dokladovala, \u017ee technicky perfektne postaven\u00e9 a\u00a0interpreta\u010dnou erud\u00edciou posv\u00e4ten\u00e9 hlasy s\u00fa takmer im\u00fanne vo\u010di starnutiu. Skvel\u00fa Jessiku Prattov\u00fa z\u00a0p\u00f4vodn\u00e9ho obsadenia nahradila v\u00a0postave Cirovej milovanej man\u017eelky Amiry Juhoafri\u010danka Pretty Yende. Mladu\u010dk\u00e1 kr\u00e1ska, ktorej hviezda prudko st\u00fapa, disponuje pr\u00ed\u0165a\u017eliv\u00fdm, vl\u00e1\u010dnym lyrick\u00fdm sopr\u00e1nom, aj ke\u010f kolorat\u00farna poloha nie je jej vyslovenou dom\u00e9nou. Z\u00e1\u017eitkom bol \u0161\u0165avnat\u00fd v\u00fdkon talianskeho tenoristu Antonina Siragusu v\u00a0postave Cirovho protivn\u00edka Baldassareho, \u00faspe\u0161n\u00fd festivalov\u00fd debut absolvoval mlad\u00fd taliansky dirigent Jader Bignamini.<\/p>\n

Turek v\u00a0Taliansku<\/em>\u00a0(Il turco in Italia<\/em>) v\u00a0mnohom pripom\u00ednal\u00a0Cira<\/em>. Tu v\u0161ak \u2013 vzh\u013eadom na komick\u00fd \u017e\u00e1ner \u2013 p\u00f4sobili Livermorove n\u00e1pady menej ru\u0161ivo, hoci ani tentoraz sa nevzdal zlozvyku nevkusne ilustrova\u0165 \u00e1rie. Tituln\u00fdm hrdinom jednej z\u00a0Rossiniho najpopul\u00e1rnej\u0161\u00edch opier je tureck\u00fd pa\u0161a Selim, ktor\u00fd prich\u00e1dza do Neapola spozna\u0165 taliansky \u017eivotn\u00fd \u0161t\u00fdl. Tu ho o\u010dar\u00ed Donna Fiorilla, kr\u00e1sna man\u017eelka starn\u00faceho Dona Geronia a\u00a0milenka Dona Narcisa. Selim nevie, \u017ee v\u00a0Neapole \u017eije aj jeho b\u00fdval\u00e1 favoritka Zaida, ktor\u00fa kedysi zo \u017eiarlivosti ods\u00fadil na smr\u0165. L\u00e1tka ako stvoren\u00e1 pre operu buffa, pln\u00fa v\u00e1\u0161n\u00ed, \u017eiarlivosti, mal\u00fdch podfukov a sladk\u00fdch zmieren\u00ed. To si mysl\u00ed aj \u201eantiiluz\u00edvna\u201c postava opery, b\u00e1snik Prosdocimo: v\u00a0snahe vytvori\u0165 div\u00e1cky atrakt\u00edvne libreto komickej opery spriada drobn\u00e9 intrigy, pos\u00favaj\u00fac postavy ako fig\u00farky na \u0161achovnici. U\u00a0Livermora sa z\u00a0b\u00e1snika stal filmov\u00fd scen\u00e1rista a\u00a0re\u017eis\u00e9r felliniovsk\u00e9ho razenia, pohybuj\u00faci sa v\u00a0bizarnej suite filmov\u00fdch hviezdi\u010diek a\u00a0oddan\u00fdch asistentiek. Kinematografick\u00e9 odkazy sa odohr\u00e1vali aj v\u00a0priamej rovine, prostredn\u00edctvom filmov\u00fdch dokr\u00fatok a\u00a0fotografick\u00fdch projekci\u00ed, 50. roky sa zase zhmotnili v\u00a0pr\u00ed\u0165a\u017eliv\u00fdch kost\u00fdmoch (Gianluca Falaschi).<\/p>\n

Na papieri hviezdne vyzeraj\u00face obsadenie uspokojilo, no nenadchlo. O\u013ega Peratyatko (Fiorilla) p\u00f4sobila na mnou nav\u0161t\u00edvenom predstaven\u00ed lep\u0161ie ne\u017e na premi\u00e9re odspievanej v\u00a0indispoz\u00edcii, doznievaj\u00facu chorobu e\u0161te prezr\u00e1dzal men\u0161\u00ed lesk kolorat\u00far. Kr\u00e1sna Ruska je skvelou rossiniovskou interpretkou, ovl\u00e1daj\u00facou \u0161t\u00fdlov\u00e9 finesy, jej hlas je zmyseln\u00fd a hodv\u00e1bne\u00a0hebk\u00fd. Mozartovsk\u00fd \u0161pecialista Erwin Schrott s\u00a0kr\u00e1snym mu\u017en\u00fdm baryt\u00f3nom p\u00f4sobil v\u00a0titulnej postave vok\u00e1lne pomerne \u0165a\u017ekop\u00e1dne. Naopak, Nicola Alaimo (Genario) aj s\u00a0o\u00a0\u010dosi menej farebn\u00fdm materi\u00e1lom prezentoval zmysel pre \u0161t\u00fdl a\u00a0cit pre profil\u00e1ciu tragikomickej postavy podv\u00e1dzan\u00e9ho man\u017eela. M\u00e1lo filigr\u00e1nske hudobn\u00e9 na\u0161tudovanie mladej dirigentky Speranze Scappucciovej nedosiahlo obvykl\u00fa pesarsk\u00fa \u00farove\u0148.<\/p>\n

Zlat\u00fd klinec<\/h3>\n

La donna del lago<\/em>, in\u0161pirovan\u00e1 po\u00e9mou Waltera Scotta, za\u017e\u00edva na s\u00fa\u010dasn\u00fdch eur\u00f3pskych javisk\u00e1ch renesanciu. Hudobne geni\u00e1lne dielo rozpr\u00e1va pr\u00edbeh Eleny, dc\u00e9ry lorda Douglasa, ktor\u00e9ho kedysi \u0161k\u00f3tsky kr\u00e1\u013e Giacomo vyhnal zo svojho hradu a teraz \u017eij\u00fa na brehu Lochnesk\u00e9ho jazera.\u00a0Elenin otec sa v\u00a0odboji vo\u010di kr\u00e1\u013eovi spojil s vojvodom Rodrigom a\u00a0za pomoc v\u00a0povstan\u00ed mu pris\u013e\u00fabil Elenu. T\u00fa v\u0161ak via\u017ee ne\u017en\u00fd vz\u0165ah s\u00a0druhom z\u00a0detstva, Malcolmom. Navy\u0161e, jej panensk\u00fd pokoj naru\u0161il tajomn\u00fd cudzinec, ktor\u00e9ho stretla v\u00a0lese. Netu\u0161\u00ed, \u017ee je to kr\u00e1\u013e Giacomo (v inkognite sa predstavuje ako Uberto). V\u00a0z\u00e1vere opery kr\u00e1\u013eova l\u00e1ska k\u00a0diev\u010dine vy\u00fasti do ve\u013ekorys\u00e9ho sebaobetav\u00e9ho gesta, ke\u010f prepust\u00ed z\u00a0v\u00e4zenia Eleninho otca a\u00a0po\u017eehn\u00e1 jej vz\u0165ahu s\u00a0Malcolmom.<\/p>\n

S\u00fa\u010dasn\u00ed re\u017eis\u00e9ri s\u00a0ob\u013eubou klad\u00fa romantick\u00fdch hrdinov\u00a0Jazernej panej\u00a0<\/em>na psychoanalytick\u00fa pohovku. Christopher Loy v\u00a0Theater an der Wien (2012) urobil z\u00a0Malcolma imagin\u00e1rneho priate\u013ea Eleny \u2013 jeho existencia str\u00e1ca opodstatnenos\u0165 po tom, \u010do sa diev\u010dina zamiluje do Uberta. Pesarsk\u00e1 inscen\u00e1cia Damiana Michieletta je rekon\u0161trukciou pr\u00edbehu z\u00a0poh\u013eadu star\u00fdch, zatrpknut\u00fdch man\u017eelov Eleny a\u00a0Malcolma. Ona sa cel\u00fd \u017eivot zo\u017eierala pocitom, \u017ee sa rozhodla pre nespr\u00e1vneho mu\u017ea, on sa um\u00e1ral \u017eiarlivos\u0165ou vo\u010di d\u00e1vnemu sokovi. Ako nevidite\u013en\u00ed dvojn\u00edci vstupuj\u00fa do spustnut\u00e9ho, vodnou tr\u00e1vou prerasten\u00e9ho domu a\u00a0znovu pre\u017e\u00edvaj\u00fa d\u00e1vnu story, sna\u017eiac sa manipulova\u0165 svoje mlad\u00e9 ja k\u00a0spr\u00e1vnym rozhodnutiam. No hoci bola Michielettova koncepcia divadelne najin\u0161pirat\u00edvnej\u0161\u00edm momentom tohtoro\u010dn\u00e9ho festivalu, aj ona trpela na prep\u00e1len\u00fa ilustrat\u00edvnos\u0165 niektor\u00fdch mizansc\u00e9n.<\/p>\n

Po hudobnej str\u00e1nke v\u0161ak\u00a0Jazern\u00e1 pani\u00a0<\/em>nemala slab\u00e9 miesto. Sledova\u0165 dirigenta Micheleho Mariottiho, ako s\u00a0\u00fa\u017easn\u00fdm pokojom a preh\u013eadom kormidluje bolonsk\u00fd opern\u00fd orchester \u00faskaliami Rossiniho partit\u00fary a\u00a0cel\u00fa operu odspieva spolo\u010dne so spev\u00e1kmi, bolo z\u00e1\u017eitkom samo o\u00a0sebe. A\u00a0na to, \u010do sa na n\u00e1s lialo z\u00a0orchestr\u00e1lnej jamy Adriatic Ar\u00e9ny, mi prich\u00e1dza na um len jedin\u00e9 slovo: z\u00e1zrak. P\u00f4\u017eitkom boli i\u00a0v\u00fdkony \u0161pi\u010dkov\u00fdch rossiniovsk\u00fdch interpretov: vl\u00e1\u010dnym mladodramatick\u00fdm sopr\u00e1nom disponuj\u00facej Salome Jiciaovej (Elena), technicky pru\u017enej Varduhi Abrahamyanovej (Malcolme), vlastn\u00edka vz\u00e1cneho kovov\u00e9ho barytenoru Michaela Spyresa (Rodrigo), n\u00e1dhern\u00fdm kovov\u00fdm basom vl\u00e1dnuceho Marca Mimicu (Douglas) a\u00a0najm\u00e4 tenoristu Juana Diega Fl\u00f3reza (Uberto) \u2013 fenomen\u00e1lneho zjavu rossiniovskej interpret\u00e1cie, ktor\u00fd neprest\u00e1va fascinova\u0165 \u017eiariv\u00fdm, pru\u017en\u00fdm, nebesk\u00e9 v\u00fd\u0161ky dosahuj\u00facim tenorom, bezkonkuren\u010dnou \u0161t\u00fdlovos\u0165ou a\u00a0podmaniv\u00fdm javiskov\u00fdm prejavom.<\/p>\n

Pr\u00e1ve sl\u00e1vnostn\u00fd galakoncert tohto umelca, ktor\u00fd svoju \u017eiariv\u00fa kari\u00e9ru od\u0161tartoval pred dvadsiatimi rokmi na pesarskom festivale, dal \u017eiariv\u00fa bodku za jeho 37. ro\u010dn\u00edkom.<\/p>\n

Rossini Opera festival, Pesaro, Taliansko
\n<\/em>37. ro\u010dn\u00edk festivalu
\n<\/em>8. \u2013 20. august 2016
\nhttp:\/\/www.rossinioperafestival.it\/?IDC=1<\/a><\/em><\/p>\n

 <\/p>\n

\u010cl\u00e1nok vznikol pre \u010dasopis\u00a0Hudobn\u00fd \u017eivot a bol uverejnen\u00fd v \u010d\u00edsle 9\/2016.\u00a0Stiahnu\u0165 v PDF<\/a><\/p>\n<\/div>\n

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Z verejn\u00fdch zdrojov podporil Fond na podporu umenia<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Pesaro   Rossiniovsk\u00fd festival v\u00a0\u0161armantnom jadranskom letovisku m\u00e1 nezamenite\u013en\u00fa atmosf\u00e9ru. […]<\/p>\n","protected":false},"author":234,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[115],"tags":[],"class_list":["post-4223","post","type-post","status-publish","format-standard","hentry","category-zahranicne-aktivity"],"_links":{"self":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4223","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/users\/234"}],"replies":[{"embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4223"}],"version-history":[{"count":1,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4223\/revisions"}],"predecessor-version":[{"id":4224,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4223\/revisions\/4224"}],"wp:attachment":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4223"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4223"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4223"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}