E l Camille myth, the high-flying prostitute impossible love is suffering from tuberculosis and that leads to the tomb had long life. We produced two men, one great and the other rather not: Giuseppe Verdi and Alexandre Dumas fils. The star of Italian opera La Traviata and the French novel La Dame aux Camelias lived reality. Marie Duplessis was then called, was famous and expensive courtesan lover, among others, of Franz Liszt - who felt for her, said, "a somber, elegiac attraction - and died of consumption at 23 of age. It was also a lover Dumas' son when both were 20 years and should never have imagined would become a paradigm of sin redeemed by love.
With Marie just dead, Alejandro guy writes in a month's short novel published in 1848. Within a week moved to play in five acts, but must wait to release it. The censors of the Second Empire receded to work with the thrust of the renewed French bourgeoisie, eager for artistic expression marked by a more open eroticism. Only in 1852, Dumas was able to take the lady ... the stage and suffered no little criticism. How could enter in dramatic literature of the time a prostitute, luxurious and devoted it to be? Critics were outraged, but Margarita, at the behest of his beloved father Armando, reject it for not neglecting her marriage to a daughter of good family. In a society dominated by the worst kind of hypocrisy - the male - to which every single woman was a virgin or whore, of course Margaret had died in the work, rewarded by the dubious salvation of self-sacrifice.
Verdi was also punished when it premiered La traviata in 1853. The composer had seen Lady of the Camellias in Paris and excited so much that even before reading the novel and the text of the play had finished most of his first draft. Venice's audience whistled and there was no second representation. Although the singers were dressed as characters of the seventeenth century, the issue of women "fall" strayed too far from the operatic conventions of the mid-nineteenth century. Helped a lot in that failure that allegedly embodied the tubercular protagonist robustísima a soprano who gave health. In the opera, named Violeta Margarita and Armando, Alfredo. She leaves his lucrative years and retires to the countryside to live with her lover, who maintains until a magnificent scene of the second act to cut off access to the requisition paternal relationship. Returned briefly to his lavish life of prostitute and is reconciled with Alfredo and his father shortly before expiring. Pitied and forgiven prostitute that hurt the sensitivity of the social sector client opera. The Times of London found it "repellent and disgusting horror" when it was released in England in 1856. U.S. soprano Emma Abbott refused to impersonate Violeta on moral grounds. Today all the sopranos in the world crave the role.
La traviata is going through a tone of lyrical intimacy that contrasts with the style and passionate torrential Il trovatore, the preceding Verdi opera. The aria "Love me, Alfredo" Violeta sings to give the final farewell touches the sublime. In spite of which there are plenty of feminists complaining of some kind because in La traviata - say - men have the better parts and Violet "never expresses joy, no happiness, only sacrifice and tragedy." All love so requires that the death gate.
For similar reasons Verdi knew that kind of social condemnation in his own house: since 1851 the share without marrying Giuseppina Strepponi, a singing diva who left to live with the composer in Sant'Agata, near Busseto, Verdi's hometown. The couple was repudiated by much of the local people, shocked at such a glaring concubinage. Verdi responded by refusing to participate in musical activities of the people and carefully returned the money that the municipality had given at the beginning of his career. Plus interest. In 1859 he married Giuseppina. Secretly, of course.
------------------------------ --------------------
l E myth came to tango in 1935 with music Joaquín Mauricio Mora and Julio Jorge Nelson letter, took shape in Camille entitled:
excited call on you today, my divine Margarita. Today
miss you in my memories, oh, my sweet inspiration!
'm your Armando, who calls you, my silky baby doll, you
The cries ... which reads, overcome with emotion.
The romance that has broken has stolen my peace and quiet.
And death has defiled the virtue of our love.
do I want life! ... if my soul shattered
suffer anguish supreme ... live this bloody pain. Today
knees in the grave where your body rests
I offered a tribute to your soul sighed
I born and wilted bouquet of camellias,
offered me that day as a symbol of your love.
By bringing together the bed where you slept quietly, very tender
A tear fell from my eyes
And pray for your soul, my God Margarita,
A broken sob in my chest is nested.
never forget that night kissing in the mouth
A fragile camellia fell off your chest;
The took sadly, madly kissed
And among those poor petals, a spot appeared.
blood was shed! Oh, my poor Margaret!
were signs of agony ... were traces of your bad
And you went slowly, my life, doll,
So I called the Grim Reaper with his sarcasm as fatal.
miss you in my memories, oh, my sweet inspiration!
'm your Armando, who calls you, my silky baby doll, you
The cries ... which reads, overcome with emotion.
The romance that has broken has stolen my peace and quiet.
And death has defiled the virtue of our love.
do I want life! ... if my soul shattered
suffer anguish supreme ... live this bloody pain. Today
knees in the grave where your body rests
I offered a tribute to your soul sighed
I born and wilted bouquet of camellias,
offered me that day as a symbol of your love.
By bringing together the bed where you slept quietly, very tender
A tear fell from my eyes
And pray for your soul, my God Margarita,
A broken sob in my chest is nested.
never forget that night kissing in the mouth
A fragile camellia fell off your chest;
The took sadly, madly kissed
And among those poor petals, a spot appeared.
blood was shed! Oh, my poor Margaret!
were signs of agony ... were traces of your bad
And you went slowly, my life, doll,
So I called the Grim Reaper with his sarcasm as fatal.
Little and nothing is interpreted today, but are still unforgettable Roberto Goyeneche versions with the orchestra of Horacio Salgado and much earlier Aníbal Troilo with Fiorentino. The songwriter talks to the dead from the place of Armando and deposited in his grave "the bouquet of camellias and wilted / that one day I was offered as a symbol of your love. "
Julio Jorge Nelson was an extraordinary tango radio broadcaster, TV and newspapers. A distant days of the '60s gave chance to find me with him face to face in the train that took us from Mar del Plata to Buenos Aires. We talked about almost everything, from tango course. We were arriving at their destination when I asked him to lower his briefcase carrier. It was a lucky bucket cloud of half of Europe hotels attached to black leather. "Carlitos gave it to me," said sentimental. I do not know which side started - although I imagine - because Julio Jorge Nelson quickly corrected: "I use it because it is practical." Understand better why he had inflicted the nickname "widow of Gardel", the Troesma, the "Lord of the sad" as named Francisco Urondo.
Source: FACTORIES by Juan Gelman
0 comments:
Post a Comment