Publication: Dinámicas transnacionales en el teatro musical popular: Jacques Offenbach, compositor de zarzuelas (1855-1905)
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2019-01-17
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Universidad Complutense de Madrid
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Abstract
Junto a las figuras de Verdi y Wagner, la de Offenbach puede considerarse como el tercer pilar fundamental sobre el que se sustentó la reformulación del teatro musical en Occidente durante la segunda mitad del siglo XIX. Si bien en el caso de los dos primeros el estudio de su recepción en España se ha llevado a cabo ampliamente por parte de la musicología, estaba pendiente de realizarse lo propio en el caso del autor de La Périchole. La cuestión resulta de innegable trascendencia por su excepcional repercusión sobre los diferentes contextos estéticos y productivos de la zarzuela, género central del devenir musical de la España decimonónica.En la tesis se profundiza en el conocimiento del lugar que ocuparon las operetas de Offenbach en el acontecer del teatro musical popular español del siglo XIX, desde 1855,cuando suena por primera vez música de Offenbach en un teatro madrileño, a 1905, año de estreno en Barcelona de la traducción castellana de su ópera póstuma, Les Contes d'Hofmann. Estamos ante uno de los compositores que en mayor medida contribuyeronal carácter y al éxito que tuvo en España el espectáculo de zarzuela durante la segundamitad de dicha centuria. Sin embargo, todavía hoy la historiografía sobre dicho “género de géneros” se continúa planteando en base a un modelo interpretativo articulado en dos vías asombrosamente artificiales: zarzuela grande versus “todo lo que no es zarzuela grande”. En esta dicotomía formal y estética subyacen innegables prejuicios nacionalistas y moralistas que han dificultado la integración en el relato de los creadores foráneos de opereta y la puesta en valor de repertorios alternativos al canon de obras maestras fijado, principalmente, por Peña y Goñi y sus prosélitos...
Together with the figures of Verdi and Wagner, Offenbach can be considered the third fundamental pillar on which the reformulation of Western musical theatre during the second half of the 19th century was based. Although in the case of the first two musicology has extensively carried out the study of their reception in Spain, in the case of the author of La Périchole the same realisation has been awaited. The question is undeniably important because of its exceptional implication for the various aesthetic and performance contexts of zarzuela, the central genre in the musical evolution of nineteenth-century Spain.This thesis extends knowledge of the place occupied by the operettas of Offenbach in the context of popular 19th century Spanish musical theatre from 1855, when Offenbach’s music was first played in a Madrid theatre, to 1905, when the Castilian translation of his posthumous opera Les Contes d’Hoffmann was premiered in Barcelona. We have before us one of the composers who made a major contribution to the character and success of zarzuela production in Spain during the second half of that century. However, the historiography of this “genre of genres” still continues today to be based on an interpretive model articulated in two surprisingly artificial concepts: zarzuela grande versus “everything that is not zarzuela grande”. Through this formal and aesthetic dichotomy undeniable nationalist and moralist prejudices have hindered the integration of foreign operetta creators into the narrative, and delayed the valorisation of alternative repertoires to the canon of masterpieces fixed, mainly, by Peña and Goñi and his proselytes...
Together with the figures of Verdi and Wagner, Offenbach can be considered the third fundamental pillar on which the reformulation of Western musical theatre during the second half of the 19th century was based. Although in the case of the first two musicology has extensively carried out the study of their reception in Spain, in the case of the author of La Périchole the same realisation has been awaited. The question is undeniably important because of its exceptional implication for the various aesthetic and performance contexts of zarzuela, the central genre in the musical evolution of nineteenth-century Spain.This thesis extends knowledge of the place occupied by the operettas of Offenbach in the context of popular 19th century Spanish musical theatre from 1855, when Offenbach’s music was first played in a Madrid theatre, to 1905, when the Castilian translation of his posthumous opera Les Contes d’Hoffmann was premiered in Barcelona. We have before us one of the composers who made a major contribution to the character and success of zarzuela production in Spain during the second half of that century. However, the historiography of this “genre of genres” still continues today to be based on an interpretive model articulated in two surprisingly artificial concepts: zarzuela grande versus “everything that is not zarzuela grande”. Through this formal and aesthetic dichotomy undeniable nationalist and moralist prejudices have hindered the integration of foreign operetta creators into the narrative, and delayed the valorisation of alternative repertoires to the canon of masterpieces fixed, mainly, by Peña and Goñi and his proselytes...
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Tesis de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 23-10-2018. Tesis retirada por expreso deseo del autor