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Análise, Edição Prática e Proposta de Encenação de Ópera Portuguesa do Século XVIII: La Vera Costanza – Dramma Giocoso de Jerónimo Francisco de Lima (1785 e 1789)
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Resumo(s)
La Vera Costanza é um dramma giocoso, com música de Jerónimo Francisco de
Lima, estreado em 1785, no Teatro de Salvaterra (em 3 actos) e repetido em 1789, no
Teatro da Ajuda (em 2 actos). O libretto – anónimo, mas atribuído, em algumas fontes,
a Francesco Puttini – foi, também, musicado por Pasquale Anfossi, em 1776, e por
Joseph Haydn, em 1779. O enredo principal centra-se no casamento secreto entre o
extravagante Conte Errico e Rosina, uma pescadora virtuosa, explorando os arquétipos
setecentistas de uma classe nobre cheia de vícios e de um povo honrado.
Jerónimo Francisco de Lima compõe esta peça durante o reinado de D. Maria I
para os músicos da Patriarcal e da Capela Real, que empregavam alguns dos maiores
virtuosi da época. A primeira didascália do libretto – “o final da Sinfonia será
acompanhado por ondas, relâmpagos e trovões” – mostra a centralidade da Cenografia
e as capacidades da Maquinaria Teatral dos Teatros Reais.
Este Projecto aborda La Vera Costanza em três capítulos: um introdutório,
generalista, dedicado ao panorama musical operático setecentista português e à
biografia e produção musical de Lima; um segundo, dedicado à análise das fontes
setecentistas; e um terceiro, dedicado à encenação:
O capítulo dedicado às fontes divide-se em três secções: a primeira aborda os
libretti: destaca as relações entre diferentes produções, inclui a tradução para português
e discute a sua autoria. A segunda secção dedica-se às partituras: desde a análise dos
manuscritos até à edição prática, permitindo a sua execução e preparando uma futura
edição crítica. A secção final aborda os registos de despesa e pagamento, esclarecendo
o investimento realizado e os recursos humanos envolvidos nas produções.
O capítulo dedicado à encenação também segue uma organização tripartida: a
primeira secção faz uma abordagem teórica a conceitos como Werktreue e
Autenticidade, destacando a sua influência no Renascimento da Música Antiga e na
prática historicamente informada. A segunda secção foca-se em questões específicas
sobre encenação: as práticas setecentistas; o surgimento da Regieoper; e práticas
contemporâneas. A terceira secção dedica-se à produção moderna de La Vera Costanza,
partindo de soluções para problemas como os papéis para castrati, a altura da afinação
e a execução em instrumentos de época; culminando numa proposta de encenação,
baseada na “multiplicidade”. Este conceito, além de guia para a encenação, reflecte o
trabalho realizado neste Projecto: a rejeição da procura pela Werktreue – ou pela
costanza – e a importância da pluralidade de “originais”, elogiando, apenas, a costanza
de Rosina pelo Conte e, não, a fidelidade exclusiva do encenador ou intérprete àsfontes
escritas ou a valores ou ideais anacrónicos.
La Vera Costanza is a dramma giocoso with music by Jerónimo Francisco de Lima premiered in 1785, at Teatro de Salvaterra (in three acts), and repeated in 1789, at Teatro da Ajuda (in two acts). The libretto – anonymous, but attributed, in some sources, to Francesco Puttini – was also set to music by Pasquale Anfossi, in 1776, and Joseph Haydn, in 1779. The main plot centres the secret wedding between the extravagant Conte Errico and Rosina, a virtuous fisherwoman, exploring the eighteenth-century archetypes of a vice-ridden upper-class, and an honoured lower-class. Jerónimo Francisco de Lima composes this piece during the reign of D. Maria I, for the musicians of the Patriarcal and the Capela Real, that employed some of the period’s biggest virtuosi. The first direction of the libretto – “the ending of the Symphony should be accompanied by waves, lightning, and thunder” – shows the centrality of Scenography and the capabilities of the Theatrical Machinery in the Royal Theatres. This Project approaches La Vera Costanza in three chapters: an introductory one, generalist, dedicated to the Portuguese operatic landscape in the 18th Century and to Lima’s biography and musical production; a second one, dedicated to the analysis of the 18th century sources; and a third one, dedicated to the staging. The chapter dedicated to the sources is divided into three sections: the first one addresses the libretti: it highlights the connections between different productions, includes the translation to Portuguese, and discusses its authorship. The second section focuses on the scores: from the analysis of the manuscripts to the practical edition, allowing its performance and preparing a future critical edition. The last section addresses the expense and payment records, clarifying the investment made and the human resources involved in the productions. The chapter dedicated to the staging also follows a tripartite organization: the first section makes a theoretical approach to concepts like Werktreue and Authenticity highlighting their influence on the Early Music Revival and on historically informed performance. The second section focuses on specific questions about staging: the 18th century practices; the emergence of Regieoper; and contemporary practices. The third section is dedicated to the modern production of La Vera Costanza, starting from solutions to problems like roles written for castrati, tuning, and execution on period instruments; culminating on a staging proposal based on “multiplicity.” This concept, besides guiding for the staging, reflects the work done in this Project: the rejection of any pursuit for Werktreue – or costanza – and the importance of the plurality of “originals”, praising, only, Rosina’s costanza to the Count and, not the stage director’s or performer’s exclusive fidelity to written sources or to anachronistic values or ideals.
La Vera Costanza is a dramma giocoso with music by Jerónimo Francisco de Lima premiered in 1785, at Teatro de Salvaterra (in three acts), and repeated in 1789, at Teatro da Ajuda (in two acts). The libretto – anonymous, but attributed, in some sources, to Francesco Puttini – was also set to music by Pasquale Anfossi, in 1776, and Joseph Haydn, in 1779. The main plot centres the secret wedding between the extravagant Conte Errico and Rosina, a virtuous fisherwoman, exploring the eighteenth-century archetypes of a vice-ridden upper-class, and an honoured lower-class. Jerónimo Francisco de Lima composes this piece during the reign of D. Maria I, for the musicians of the Patriarcal and the Capela Real, that employed some of the period’s biggest virtuosi. The first direction of the libretto – “the ending of the Symphony should be accompanied by waves, lightning, and thunder” – shows the centrality of Scenography and the capabilities of the Theatrical Machinery in the Royal Theatres. This Project approaches La Vera Costanza in three chapters: an introductory one, generalist, dedicated to the Portuguese operatic landscape in the 18th Century and to Lima’s biography and musical production; a second one, dedicated to the analysis of the 18th century sources; and a third one, dedicated to the staging. The chapter dedicated to the sources is divided into three sections: the first one addresses the libretti: it highlights the connections between different productions, includes the translation to Portuguese, and discusses its authorship. The second section focuses on the scores: from the analysis of the manuscripts to the practical edition, allowing its performance and preparing a future critical edition. The last section addresses the expense and payment records, clarifying the investment made and the human resources involved in the productions. The chapter dedicated to the staging also follows a tripartite organization: the first section makes a theoretical approach to concepts like Werktreue and Authenticity highlighting their influence on the Early Music Revival and on historically informed performance. The second section focuses on specific questions about staging: the 18th century practices; the emergence of Regieoper; and contemporary practices. The third section is dedicated to the modern production of La Vera Costanza, starting from solutions to problems like roles written for castrati, tuning, and execution on period instruments; culminating on a staging proposal based on “multiplicity.” This concept, besides guiding for the staging, reflects the work done in this Project: the rejection of any pursuit for Werktreue – or costanza – and the importance of the plurality of “originals”, praising, only, Rosina’s costanza to the Count and, not the stage director’s or performer’s exclusive fidelity to written sources or to anachronistic values or ideals.
Descrição
Palavras-chave
Portugal Séc. XVIII Ópera Jerónimo Francisco de Lima La Vera Costanza Regieoper Ópera em Portugal Encenação Edição Musical 18th Century Opera Opera in Portugal Staging Music Edition