Una duda futura escalígera.
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Autor:  Despinetta [ 30 Nov 2021 21:02 ]
Asunto:  Una duda futura escalígera.

Se trata del "Macbeth" del Sant'Ambrogio; mi duda: ¿se emplea una versión determinada de la ópera?
Por simple curiosidad.
Gracias adelantadas.

Autor:  Rubini [ 30 Nov 2021 21:53 ]
Asunto:  Re: Una duda futura escalígera.

Esto es lo que dice el boletín de prensa: L’opera si esegue per la prima volta alla Scala secondo l’edizione critica curata da David Lawton per Ricordi. L’edizione scelta è quella del 1865, ma nel IV atto è inserita la morte di Macbeth (“Mal per me che m’affidai”) dalla versione del 1847.

La edición crítica en cuestión tiene el siguiente detalle:

The critical edition of Macbeth is the first printed edition of the score that gathers together in a single unified publication both versions of the opera (the first version: Florence 1847; and the second version: Paris 1865). The existing editions, in fact, almost always provide the Paris version of 1865, overlooking the original 1847 version. The main text of the critical edition furnishes the 1865 Paris version; Appendix 2 instead provides all those sections (entire numbers or portions of numbers) composed in 1847 in view of the premiere of the opera in Florence and later modified or eliminated by Verdi in view of the revision of 1865.

Compared with the latter, the 1847 Florence version contains divergences in the following numbers (or, where indicated, just in portions of them):

- No. 5a Macbeth and Lady Macbeth’s Scena and Duet (only the tempo di mezzo and cabaletta);
- No. 7a Lady Macbeth’s Scena and Aria;
- No. 9a Banquet, Apparition and Second Finale (just Bars 183-446);
- No. 10a Chorus;
- No. 11a Macbeth’s Recitative, Apparitions, Ballabile and Aria;
- No. 12a Chorus;
- No. 13a Macduff’s Scena and Aria with choruses;
- No. 15a Macbeth’s Scena, Battle and Death.

Considering the critical edition as a whole, it includes the following features which further distinguish it from the existing versions:

• It emends the errors and incongruences in the sources and restores the musical text to its original state. It discusses in the critical commentary and proposes solutions in the score to problems that have long inhered to the reading of Verdi’s autograph and that have generated varied and at times erroneous readings in the existing versions.

• It provides in the musical text all the metronomic markings (often absent in the existing versions) as they appear in the two autograph scores prepared by Verdi for the two versions of the opera.

• With the aim of thoroughly documenting the compositional process of Verdi, the editor restores in the extensive critical commentary all the textual variants in the autograph (however limited) that derive from the first drafts originally conceived by Verdi but immediately rejected and replaced in the compositional process. Appendix 1 also provides the autograph vocal part of No. 15a (Macbeth’s Death - 1847 Florence version): this consists in a highly interesting text that Verdi composed for Felice Varesi (the first, ‘Florentine’ Macbeth) before he had finished composing the opera, with the sole aim of providing the singer in advance with the vocal part of one of his solos. Verdi composed similar parts for a number of the numbers of the opera but up to today this is the only one that has been found.

• In the introduction and the critical commentary the edition deals with questions relating to instrumentation problems, in particular in relation to the parts of the timpani, the harp, the off-stage band and instruments in the orchestra. All the solutions proposed are based both on historically informed studies of performance practice and on a direct analysis of the sources. In particular, the critical edition eliminates the harp from No.s 1 and 14 in respect of which no reliable testimonies exist as to whether Verdi wished to make use of the instrument. The edition also provides among the performance materials an arrangement of the era for the off-stage music (off-stage band) in No. 4, a piece that Verdi jotted down only in the form of a ‘particella’ on two staves in keeping with the usual practice of the time.

• In the critical edition the verbal text is drawn principally from the autograph scores of Verdi. When these sources are incomplete or patently erroneous, the edition relies on the printed libretti published on the occasion of the first production in Florence (for the parts that are common to the two versions) and on a ‘generic’ libretto published by Ricordi in 1865. The only exception to this criterion is tied to the modifications effected by Andrea Maffei to the original text by Francesco Maria Piave, modifications introduced after Verdi had almost completely finished composing the Florentine version. There are numerous testimonies to the effect that Verdi accepted these changes, not least the fact that they were integrated into the poetic text used in 1865 for the Paris version. The source for identifying Maffei’s interventions is a manuscript libretto of the opera held today in the Livia Simoni library at the Teatro alla Scala in Milan, in which there are also some annotations by Verdi himself. In all likelihood this was the text used by Verdi during the compositional phase of the 1847 version.

Autor:  Despinetta [ 30 Nov 2021 22:24 ]
Asunto:  Re: Una duda futura escalígera.

Me figuraba que algo así sería posible.
¡Muchas gracias, caro Rubini!

Autor:  tucker [ 30 Nov 2021 22:54 ]
Asunto:  Re: Una duda futura escalígera.

Os habéis adelantado a mi curiosidad ya que estaba bastante claro que Chailly algo nuevo desempolvaría

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