{"id":24329,"date":"2016-12-07T11:42:58","date_gmt":"2016-12-07T09:42:58","guid":{"rendered":"http:\/\/www.lafranja.net\/?p=24329"},"modified":"2016-12-08T04:18:54","modified_gmt":"2016-12-08T02:18:54","slug":"a-bengochea-la-dificil-relacio-entre-mozart-i-el-public-viles-i-gents","status":"publish","type":"post","link":"https:\/\/www.lafranja.net\/?p=24329","title":{"rendered":"A. Bengochea: La dif\u00edcil relaci\u00f3 entre Mozart i el p\u00fablic | Viles i Gents"},"content":{"rendered":"
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(Publicat al Diario de Teruel el dissabte 3 desembre de 2016)<\/strong><\/p>\n

Mozart tenia 30 anys\u00a0 al 1786. Estava en plena maduresa creativa. Tothom est\u00e0 d\u2019acord en que aquesta data inaugura les \u00faltimes grans creacions del geni de Salsburg: les tres darreres simfonies, les \u00faltimes peces camer\u00edstiques, els \u00faltims concerts per piano, les peces mes\u00f2niques, el R\u00e8quiem, l\u2019Ave verum<\/em>, el concert per clarinet o les cinc grans \u00f2peres finals.<\/p>\n

Tothom est\u00e0 d\u2019acord en que els millors concerts per piano s\u00f3n el \u00faltims, per\u00f2 en la seva \u00e8poca Mozart va anar perdent clientela un darrere l\u2019altre, res a veure amb els \u00e8xits dels concerts anteriors. Les \u00f2peres finals van evolucionar de l\u2019\u00e8xit de les Noces de F\u00edgaro (malgrat que \u201ctenia massa notes\u201d) al desconcert que produ\u00ed \u00a0Don Giovanni, al frac\u00e0s (com ara) de La Scuola<\/em> degli am<\/em>anti, m\u00e9s coneguda com Cos\u00ed fan tutte<\/em>, o a l\u2019oblit i incomprensi\u00f3 (com ara) de La Clemenza<\/em> di Tito<\/em>. \u00c9s cert que La Flauta M\u00e0gica va ser un \u00e8xit, per\u00f2 a un teatre popular, diguem-ne de barriada.<\/p>\n

El p\u00fablic de la \u00e8poca il\u00b7lustrada i pre-revolucionaria no va comprendre massa b\u00e9 les innovacions mozartianes.<\/p>\n

El p\u00fablic d\u2019ara tampoc. Tant els auditoris simf\u00f2nics com els grans teatres d\u2019\u00f2pera estan pensats per al repertori rom\u00e0ntic. Els millors concertistes de piano i viol\u00ed no toquen Mozart. Els grans directors no dirigeixen Mozart. Les estrelles del cant (Fl\u00f2rez, Kauffman, Netrebko, Garanca) no canten Mozart. El p\u00fablic oper\u00edstic espera molt m\u00e9s (i \u00e9s molt m\u00e9s cr\u00edtic) del \u201cbel canto\u201d, de Verdi, Puccini, Wagner o Richard Strauss, que del geni austr\u00edac. Les \u00f2peres de Mozart no apassionen massa als pa\u00efsos mediterranis. Gaireb\u00e9 mai venen amb repartiments de luxe. Fins i tot una abonada del Liceu les va definir com \u201coperetes\u201d. Curiosament el p\u00fablic tampoc se molesta gaire si el \u201ccast\u201d \u00e9s mediocre. Mozart \u00e9s el millor nom\u00e9s de boca. Com en la seva \u00e8poca, ni l\u2019\u00f2pera de la Llibertat (Don Giovanni), ni la de la Igualtat (Les Noces), ni la de la Fraternitat (Flauta M\u00e0gica), ni la de la posada en solfa de les tres coses (Cos\u00ed<\/em>) troben el seu lloc entre el p\u00fablic. Caldr\u00e0 esperar millors temps per donar la ra\u00f3 als saberuts music\u00f2legs o al Salieri d\u2019Amadeus.<\/p>\n

Antoni Bengochea<\/strong><\/p><\/blockquote>\n

Origen: La dif\u00edcil relaci\u00f3 entre Mozart i el p\u00fablic | Viles i Gents<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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