{"id":697,"date":"2015-07-01T11:11:58","date_gmt":"2015-07-01T09:11:58","guid":{"rendered":"https:\/\/realgoya.com\/?p=697"},"modified":"2016-06-14T19:04:18","modified_gmt":"2016-06-14T17:04:18","slug":"opera-goya-%e2%80%a2-gl-4","status":"publish","type":"post","link":"https:\/\/realgoya.com\/en\/opera-goya-%e2%80%a2-gl-4\/","title":{"rendered":"\u00d3pera GOYA \u2022 G&L 4Opera GOYA \u2022 G&L 4"},"content":{"rendered":"

En nuestra secci\u00f3n Goya y la literatura introducimos un comentario sobre una obra musical, concretamente la \u00d3pera GOYA<\/em> de G.C.Menotti. Desde el punto de vista literario la obra no tiene la altura que se espera dado que la figura de Goya predispone a una creaci\u00f3n compleja, tensa y dram\u00e1tica, lo que no quita valor a la creaci\u00f3n musical.<\/p>\n

\"Opera<\/p>\n

\u00d3pera : GOYA<\/em><\/h3>\n

\u00d3pera en tres actos.
\nLibreto: Gian Carlo MENOTTI ( 1911-2007)
\nEstreno: Opera Nacional de Washington, 1986.<\/p>\n

Reparto:<\/p>\n

Francisco de Goya y Lucientes\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.Pl\u00e1cido Domingo<\/strong><\/p>\n

Do\u00f1a Cayetana, Duquesa de Alba\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.Michelle Breedt<\/strong><\/p>\n

Mar\u00eda Luisa, Reina de Espa\u00f1a\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026Iride Mart\u00ednez<\/strong><\/p>\n

Carlos IV, Rey de Espa\u00f1a\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026..Andreas Conrad<\/strong><\/p>\n

Don Manuel Godoy\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026..Maurizio Muraro<\/strong><\/p>\n

Mart\u00edn Zapater\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026Christian Gerhaher<\/strong><\/p>\n

Leocadia\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026..Nadia Krasteva<\/strong><\/p>\n

Criada\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.Petra Simkova<\/strong><\/p>\n

Mayordomo\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026Sergio Raonic Lukovic<\/strong><\/p>\n

 <\/p>\n

DIRECTOR: Emmanuel Villaume<\/p>\n

Puesta en escena :Kasper Bech Holte.<\/p>\n

Orchesta Sinf\u00f3nica de la Radio de Viena.<\/p>\n

 <\/p>\n

Gian Carlo Menotti no fue un m\u00fasico revolucionario, pero a lo largo de su vida musical explor\u00f3 distintas direcciones. Fue el primero en componer una \u00d3pera radiof\u00f3nica y tambi\u00e9n otra para la televisi\u00f3n.<\/p>\n

La m\u00fasica de Menotti gustaba mucho a Pl\u00e1cido Domingo:\u2026\u201d\u00e9l escribe su m\u00fasica de manera muy mel\u00f3dica, que es la \u00fanica manera que conviene a un cantante- y siempre<\/p>\n

otorga gran placer al p\u00fablico\u201d.<\/p>\n

En 1977 Menotti invit\u00f3 a cenar a Domingo, quien entonces produc\u00eda Carmen en el Festival de Edimburgo. Domingo le sugiri\u00f3 al compositor que escribiera una \u00d3pera<\/p>\n

para \u00e9l, sobre la vida de un gran artista espa\u00f1ol y le propuso Francisco de Goya a quien Domingo admira. Menotti acept\u00f3 y comenz\u00f3 a realizar los primeros esbozos. En noviembre de 1986 la obra se puso en escena en la \u00d3pera Nacional de Washington, bajo la direcci\u00f3n de Rafael Fr\u00fchbeck de Burgos.<\/p>\n

Pl\u00e1cido Domingo interpret\u00f3 a Goya y Victoria Vergara a la Duquesa de Alba.<\/p>\n

La cr\u00edtica no fue muy favorable pues se juzg\u00f3 la obra carente de modernidad, dema-siado mel\u00f3dica, en la tradici\u00f3n italiana del bel canto<\/em>. Era evidente que se trataba de una obra hecha para y por un tenor.<\/p>\n

 <\/p>\n

Para Menotti, Goya simbolizaba al mismo tiempo la libertad y los l\u00edmites del artista.<\/p>\n

La obra est\u00e1 fundada en el dualismo entre el hombre y el pintor, moderno, apasionado y contradictorio, por un lado muy ambicioso y por otro muy prudente en el plano pol\u00edtico. Menotti focaliz\u00f3 la intriga sobre la Duquesa de Alba, , el \u00fanico gran amor de Goya, y de un esp\u00edritu opuesto al del pintor, creando as\u00ed un gran tensi\u00f3n dram\u00e1tica.<\/p>\n

La \u00f3pera de desarrolla en los \u00faltimos a\u00f1os de la vida del pintor. Kasper Bech Holten pone en el centro de su puesta en escena la cuesti\u00f3n: \u201cLa \u00d3pera de Menotti transforma la vida de Goya en una reflexi\u00f3n sobre el rol del artista en s\u00ed y sobre el precio que debe pagar por ser un Gran Artista\u201d.<\/p>\n

Pero tambi\u00e9n es necesario mencionar aqu\u00ed que Menotti no fue fiel a los datos de la realidad hist\u00f3rica, particularmente en lo que concierne a la relaci\u00f3n amorosa entre el pintor y la duquesa, pero resulta \u201cuna buena historia\u201d.<\/p>\n

 <\/p>\n

Sinopsis:<\/strong><\/p>\n

Acto I: <\/strong>Goya, viejo y sordo est\u00e1 abrumado por dudas y sentimientos de culpabilidad.<\/p>\n

En una taberna, se enamora de una joven soberbia. Pronto sabe que esa joven es la duquesa de Alba, una de las mujeres m\u00e1s influyentes de Espa\u00f1a. Ella le encarga un retrato; durante el trabajo, Goya experimenta hacia ella sentimientos cada vez m\u00e1s intensos.<\/p>\n

Acto II:<\/strong> La reina est\u00e1 celosa de la Duquesa de Alba a causa de Goya. La Duquesa la provoca con ocasi\u00f3n de un baile donde sus doncellas de c\u00e1mara van vestidas con la mismo modelo que la soberana. El Primer Ministro Godoy, amante de la reina, constri\u00f1e a Goya a una fidelidad absoluta a la Corte. La Duquesa sinti\u00e9ndose traicio-nada por el pintor, a quien juzga d\u00e9bil de car\u00e1cter, rompe su relaci\u00f3n con \u00e9l.<\/p>\n

Acto III:<\/strong> Goya comprende, demasiado tarde que ha sido manipulado por las luchas<\/p>\n

de poder entre la reina y la duquesa. Se retira de la vida social para consagrarse s\u00f3lo<\/p>\n

a su arte. La Duquesa es envenenada por la reina y en su agon\u00eda pide ver a Goya pero el pintor llega demasiado tarde. Goya se enferma y en su soledad reconoce que ha cometido el error de no haber luchado contra las injusticias, y se refugia en la creaci\u00f3n. Antes de morir se le aparece la Duquesa de Alba quien le dice que su vida y su arte han estado, a pesar de todo, al servicio de un ideal trascendental.<\/p>\n

Efectivamente el libreto de Menotti no se ajusta a la realidad hist\u00f3rica pero cumple con un argumento rom\u00e1ntico, quiz\u00e1s un poco pasado de moda. De todos modos, incitamos a los lectores de este art\u00edculo, basado en el programa de mano de la \u00d3pera, a que escuchen al estupendo Pl\u00e1cido Domingo en el papel de Don Francisco de Goya.<\/p>\n

 <\/p>\n

Silvia Pagliano<\/p>\n

In our section Goya and Literature<\/em> we introduce a comment on a piece of music, specifically the Opera GOYA by G. C. Menotti. From the literary point of view the work does not have the height that is expected given that the figure of Goya predisposes to a complex creation, tense and dramatic, which does not remove value to music creation.<\/p>\n

\"Opera<\/p>\n

Opera: GOYA<\/em><\/h3>\n

Opera in three acts.
\nLibretto: Gian Carlo MENOTTI (1911-2007)
\nPremiere: Washington National Opera, 1986.<\/p>\n

Cast:<\/p>\n

Francisco de Goya y Lucientes\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026..\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pl\u00e1cido Domingo<\/strong><\/p>\n

Do\u00f1a Cayetana, Duchess de Alba\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Michelle Breedt<\/strong><\/p>\n

Mar\u00eda Luisa, Queen of Spain\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026..\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iride Mart\u00ednez<\/strong><\/p>\n

Carlos IV, King of Spain\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026..\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Andreas Conrad<\/strong><\/p>\n

Don Manuel Godoy\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026..\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Maurizio Muraro<\/strong><\/p>\n

Mart\u00edn Zapater\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u00a0 Christian Gerhaher<\/strong><\/p>\n

Leocadia\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026..\u00a0 Nadia Krasteva<\/strong><\/p>\n

Maid..\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.\u00a0\u00a0 Petra Simkova<\/strong><\/p>\n

Butler………\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u00a0\u00a0 Sergio Raonic Lukovic<\/strong><\/p>\n

 <\/p>\n

DIRECTOR: Emmanuel Villaume<\/p>\n

Staging: Kasper Bech Holte.<\/p>\n

Vienna Radio Symphonic Orchestra.<\/p>\n

 <\/p>\n

Gian Carlo Menotti was not a revolutionary musician, but throughout his musical life explored different directions. He was the first to compose a radio opera and also one for television.<\/p>\n

Music by Menotti liked a lot to Pl\u00e1cido Domingo: \u2026”he writes his music in a very melodic way, that is the only way that a singer – and always gives great pleasure to the public”.<\/p>\n

In 1977, Menotti invited Domingo to dinner, who then produced Carmen at the Edinburgh Festival. Domingo suggested to the composer to write an Opera for him, the life of a great Spanish artist and proposed Francisco de Goya to whom Domingo admires. Menotti accepted and began to carry out the first sketches. In November 1986 the work was staged at the Washington National Opera, under the direction of Rafael Fr\u00fchbeck de Burgos.<\/p>\n

Pl\u00e1cido Domingo played Goya and Victoria Vergara the Duchess of Alba.<\/p>\n

Critics were not very favourable as the work was judged lacking of modernity, too melodic, in the Italian tradition of bel canto<\/em>. It was clear that it was a work made for and by a tenor.<\/p>\n

For Menotti, Goya symbolized freedom and the limits of the artist at the same time.<\/p>\n

The work is founded on dualism between man and painter, modern, passionate, contradictory, on the one hand very ambitious and very wise politically on the other. Menotti focused the intrigue about the Duchess of Alba, the only great love of Goya and with a spirit opposite to the painter, thus creating a great dramatic tension.<\/p>\n

The opera takes place in the last years of the life of the painter. Kasper Bech Holten puts at the centre of its staging the question: “Menotti\u2019s Opera transforms Goya\u2019s life into a reflection on the role of the artist itself and on the price you must pay for being a great artist”.<\/p>\n

But it is also necessary to mention here that Menotti was not faithful to the historical facts, particularly in what concerns the loving relationship between the painter and the Duchess, but it is “a good story”.<\/p>\n

 <\/p>\n

Synopsis:<\/strong><\/p>\n

First Act:<\/strong> Goya, old and deaf, is overwhelmed by doubt and guilt feelings.<\/p>\n

In a tavern, he falls in love for a young pride. Soon he knows that this young woman is the Duchess of Alba, one of the most influential women of Spain. She commissioned a portrait; during work, Goya experience increasingly intense feelings towards her.<\/p>\n

Second Act:<\/strong> The Queen is jealous of the Duchess of Alba because of Goya. The Duchess raises her on the occasion of a dance where her chambermaids are dressed with the same model as the Sovereign. The Prime Minister Godoy, lover of the Queen, constrains Goya to an absolute fidelity to the Court. The Duchess feeling betrayed by the painter, whom she judges with weak character, breaks her relationship with him.<\/p>\n

Third Act:<\/strong> Goya understands, too late, that has been manipulated by the fights of power between the Queen and the Duchess. He withdraws from social life to devote himself only to his art. The Duchess is poisoned by the Queen and in her agony she asks to see Goya, but the painter arrives too late. Goya is sick and in his solitude acknowledges that he has made the mistake of not having fought against injustices, and takes refuge in the creation. Before his death the Duchess of Alba appears to him, who tells him that his life and his art have been, despite everything, in the service of a transcendental ideal.<\/p>\n

 <\/p>\n

Indeed, the libretto<\/em> of Menotti does not conform to the historical reality but meet a romantic argument, perhaps a little out of fashion. Anyway, we urge the readers of this article, based on the programme of the Opera, to listen to the great Pl\u00e1cido Domingo in the role of Don Francisco de Goya.<\/p>\n

 <\/p>\n

Silvia Pagliano<\/p>\n<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

En nuestra secci\u00f3n Goya y la literatura introducimos un comentario sobre una obra musical, concretamente la \u00d3pera GOYA de G.C.Menotti. Desde el punto de vista literario la obra no tiene la altura que se espera dado que la figura de Goya predispone a una creaci\u00f3n compleja, tensa y dram\u00e1tica, lo que no quita valor a […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[],"class_list":["post-697","post","type-post","status-publish","format-standard","hentry","category-goya-en-la-literatura"],"_links":{"self":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/697","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/comments?post=697"}],"version-history":[{"count":0,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/697\/revisions"}],"wp:attachment":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/media?parent=697"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/categories?post=697"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/tags?post=697"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}