{"id":20452,"date":"2024-10-07T09:43:02","date_gmt":"2024-10-07T07:43:02","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=20452"},"modified":"2024-10-07T09:48:18","modified_gmt":"2024-10-07T07:48:18","slug":"una-conversa-chez-madame-viardot-garcia-a-paris","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/ca\/una-conversa-chez-madame-viardot-garcia-a-paris\/","title":{"rendered":"Una conversa chez madame Viardot-Garc\u00eda a Par\u00eds"},"content":{"rendered":"

Una conversa chez<\/em> madame<\/em> Viardot-Garc\u00eda a Par\u00eds<\/h1>\n
\"\"
Pauline Viardot (1908) i Reynaldo Hahn (1907). \/ Font: Wikicommons\u00a0<\/span><\/figcaption><\/figure>\n

Llic\u00e8ncia Creative Commons<\/a><\/p>\n

\"\"<\/strong><\/p>\n

 <\/p>\n

Marta Vela<\/strong><\/a><\/p>\n

 <\/p>\n

El 1933, el m\u00fasic vene\u00e7ol\u00e0 Reynaldo Hahn d’Echenagucia<\/strong> (1874-1947) publicava Journal d’un musicien<\/em>, un text amb interessants an\u00e8cdotes de la seva joventut, referides a diversos personatges art\u00edstics de la Belle \u00e9poque, just abans de la Primera Guerra Mundial, en la qual va participar com a soldat d’infanteria. Cantant l\u00edric, compositor, pianista i empresari teatral, havia estudiat al Conservatori de Par\u00eds amb Ravel, Vinyes o Cortot<\/strong>, i la seva amistat amb Diaghilev<\/strong> i, especialment, amb Proust<\/strong>, li van atorgar una visi\u00f3 panor\u00e0mica privilegiada del final de l’era decimon\u00f2nica i, despr\u00e9s, del per\u00edode d’entreguerres.<\/p>\n

El 1901, Hahn va acudir a la trobada amb la reputada madame Viardot-Garc\u00eda<\/strong> al seu apartament del tercer pis del bulevard Saint Germain, on s’havia mudat el 1883 des de la seva anterior casa a la rue de Douai, despr\u00e9s de la mort dels seus dos esposos, amb pocs mesos de difer\u00e8ncia, Louis Viardot i Ivan Turgu\u00e9nev.<\/p>\n

En primer lloc, la gran artista va rememorar el seu viatge a Granada l’estiu del 1842, feia gaireb\u00e9 seixanta anys, on havia cantat Il barbiere di Siviglia<\/em>, l’\u00f2pera que Rossini havia compost per al seu pare, i, per primera vegada a la seva carrera , la Norma<\/em> de Bellini, que la seva germana Mar\u00eda Malibran<\/strong> havia interpretat de manera magistral.<\/p>\n

Visita a Mme Viardot. Gran sal\u00f3 fosc, d\u00e9mod\u00e9, opulent, per\u00f2 on res sorpr\u00e8n; bon foc; sobre una cadira, davant del piano, una \u00abperegrina\u00bb deixada all\u00ed per la vella artista. Ella entra, una mica arquejada, molt amable. La seva c\u00e8lebre lletjor est\u00e0 atenuada per l’edat. T\u00e9 uns bells cabells blancs, senzills, espessos. Els ulls s\u00f3n una mica sostinguts amb kohl; t\u00e9 totes les dents, que van haver de ser enlluernadores i que, ara esgrogue\u00efdes, aix\u00f2 no obstant conserven encara la seva brillantor. Gran boca molt riallera, veu de vella dona robusta, baixa, timbrada. T\u00e9 vuitanta anys, per\u00f2 tot en ella, excepte els ulls, que amb prou feines hi veuen, \u00e9s ple de vida, de foc. Tus molt, refredada, i com li pregunto si es cuida, em respon amb una import\u00e0ncia seriosa i c\u00f2mica: oh, tinc massa coses a la tauleta de nit! Parlem, tot seguit: \u201cM\u2019han dit que vost\u00e8 \u00e9s espanyol!\u201d. I voil\u00e0 que es posa a parlar un andal\u00fas encomanad\u00eds amb una agilitat i una puresa d’accent extraordin\u00e0ries. \u201cEi!, em diu ella, que potser no s\u00f3c espanyola? No he parlat jo espanyol tota la meva vida? Amb el meu pare, les meves germanes, les meves filles\u201d. A m\u00e9s, madame Viardot ha tingut sempre reputaci\u00f3 de poliglota; parla totes les lleng\u00fces, ent\u00e9n el rus\u2026 Ella em va explicar que, a Granada, on havia cantat Norma, el p\u00fablic entusiasmat, despr\u00e9s de la representaci\u00f3 havia reclamat a crits can\u00e7ons espanyoles, i va caldre que ella i un dels seus companys fessin portar un piano a l’escenari per cantar, amb la roba dru\u00eddica, \u00abvitos\u00bb i \u00abpeteneras\u00bb!<\/em><\/p>\n

 <\/p>\n

I, despr\u00e9s d’algunes q\u00fcestions de repertori, enfocat a les obres de l’\u00e8poca\u2026<\/p>\n

Intento orientar la conversa cap a certs punts que m’interessen. Li pregunto per qu\u00e8 no escriu les mem\u00f2ries. \u00c9s, em diu, perqu\u00e8 hi veig massa malament per a escriure molt de temps i no s\u00e9 dictar. Aix\u00f2 ens porta a parlar dels seus ulls, t\u00e9 cataractes. Li parlo d’operaci\u00f3\u2026 \u201caquestes ulleres horribles, aquests ulls de vaca que em veig obligada a portar!\u201d. Coqueteria for\u00e7a imprevista, em sembla, en una dona de vuitanta anys que sempre ha estat lletja. Bruscament, ella em pregunta: \u201cLi agrada a vost\u00e8 la manera cursi com es canten les seves can\u00e7ons? \u00c9s necess\u00e0ria aquesta dicci\u00f3 tan punxeguda?\u201d. Intento propiciar l’ocasi\u00f3 que ens porti a parlar de la dicci\u00f3. Per\u00f2 no. Ella em diu amb una rudesa amable: canti\u2019m alguna cosa, vol? M\u2019assec al piano, un piano vell i r\u00f2nec; no m\u2019hi sento b\u00e9; una cadira massa alta, qu\u00e8 s\u00e9 jo. Per\u00f2 cap problema; la meva oient es coneix massa b\u00e9 per a t\u00e9mer el mal esdeveniment d\u2019un accident vocal. Li vaig cantar \u2018N\u00e9\u00e8re\u2019, que sembl\u00e0 complaure-la, despr\u00e9s \u2018Le cimeti\u00e8re\u2019, que ella em va demanar. El seu cap blanc d’ulls pensatius s’inclina de vegades amb aprovaci\u00f3. \u201cM’agrada com canta vost\u00e8\u201d, em diu calmadament i com si m\u2019atorgu\u00e9s un gest de satisfacci\u00f3: \u201c\u00c9s senzill, est\u00e0 b\u00e9\u201d.<\/em><\/p>\n

\u2026la conversa va girar al voltant del Don Giovanni<\/em> de Mozart, que Pauline Viardot-Garc\u00eda havia representat per primera vegada a Nova York, juntament amb la seva fam\u00edlia, amb un petit paper afegit pel seu pare, en pres\u00e8ncia de Lorenzo da Ponte<\/em>, l\u2019afamat llibretista de Mozart, admirat d\u2019aquesta premi\u00e8re<\/em> a Am\u00e8rica, que s\u2019havia representat per primera vegada a Praga, a la vella Europa, el 1787.<\/p>\n

-Madame, \u00bfli agradava cantar Don Juan?<\/em><\/p>\n

-S\u00ed, he cantat Anna i Zerlina. M’agradava molt l’Anna.<\/em><\/p>\n

Assenteix constantment amb el cap, busca les paraules i les troba, justes, breus.<\/em><\/p>\n

-\u00bfHa llegit Hoffmann?<\/em><\/p>\n

-Certament, dic jo. Ell suposa que Dona Anna pot haver estat estimada per don Juan\u2026<\/em><\/p>\n

-\u00a1Aix\u00f2 \u00e9s! He cantat aquest rol en aquest esperit. He buscat fer sentir aquest mat\u00eds.<\/em><\/p>\n

-Per\u00f2 aix\u00f2 em sembla molt improbable, ja que Anna amb prou feines intercanvia unes paraules amb Don Juan; \u00e9s impossible entreveure-hi una inflexi\u00f3 amorosa.<\/em><\/p>\n

I li pregunto si va anar barrejant el dolor amb l’odi per marcar aquest tret.<\/em><\/p>\n

-S\u00ed. I tamb\u00e9 es pot indicar en el moment que ella el reconeix com el seu agressor nocturn.<\/em><\/p>\n

-\u00bfI potser tamb\u00e9 amb una mica d’indifer\u00e8ncia cap a Don Ottavio?<\/em><\/p>\n

-I tant, ja ho crec! Pobre Ottavio! \u00c9s una mica babau. Recordo que el fam\u00f3s tenor Bordogni, cantant amb mi, despr\u00e9s de la hist\u00f2ria de la meva lluita amb Don Juan, va proferir un \u201crespir!\u201d (sic en itali\u00e0) que va fer riure el p\u00fablic.<\/em><\/p>\n

Li vaig dir que m’havia semblat sempre rid\u00edcula aquesta paraula i, recentment, a Alemanya, tamb\u00e9 pel perill del seu l’efecte des del punt de vista d’una sala moderna.<\/em><\/p>\n

\u2013\u00bfCom es diu aix\u00f2 en alemany?<\/em><\/p>\n

-Ach! Ich athme wieder! [Oh! Respiro una altra vegada!]<\/em><\/p>\n

Repeteix aquesta frase amb un accent perfecte subratllat d’un lleuger gest.<\/em><\/p>\n

Tot plegat, ella no creu que aquest pensament ocult de Hoffmann hagi passat ni tan sols per la ment de Mozart, per\u00f2 pensa que es pot aprofitar per augmentar l’inter\u00e8s del rol.<\/em><\/p>\n

 <\/p>\n

Precisament, madame Viardot-Viardot havia comprat a Londres, el 1855, el manuscrit original de Don Giovanni, del puny i lletra de Mozart, que havia estat successivament traslladat a Par\u00eds, Baden, Londres i, finalment, de nou a Par\u00eds, fins al boulevard de Saint-Germain, per admiraci\u00f3 de les visites\u2026 que, tanmateix, ja no va poder contemplar Reynaldo Hahn. Aquesta meravellosa rel\u00edquia l\u2019havia donada al Conservatori de Par\u00eds el 1892 i avui dia es pot consultar de manera digital a Gallica<\/em>, una depend\u00e8ncia de la Biblioth\u00e8que Nationale de France<\/em>, amb el nom de la seva propiet\u00e0ria a la portada:<\/p>\n

https:\/\/gallica.bnf.fr\/ark:\/12148\/btv1b55002493z\/f4.item.r=don%20giovanni%20pauline%20viardot<\/a><\/p>\n

\n

Font:\u00a0educational EVIDENCE<\/strong><\/p>\n

Drets:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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