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Parte séptima. Semblanzas y Coda Festivales de España, patrocinados por el gobierno español, dieron cabida al género operístico. En 1966 hizo su presentación en el Staatsoper de Viena, con I pagliacci (su intervención plasmada en una grabación nos resultó excelente). Desde esa fecha y hasta 1980 quedaría unido a este teatro, al que acudiría durante catorce temporadas ininterrumpidas para afrontar diversos roles. En 1968 vio cumplida su aspiración de interpretar ópera en suelo italiano. En el panorama de la ópera, un desconocido Pedro Lavirgen, conforme iba apareciendo en las carteleras, fue recibiendo la admiración de la crítica y público. En el Liceo de Barcelona, un tribunal para la ópera en España y el único teatro que mantuvo una temporada con un nivel verdaderamente europeo, desarrolló una espectacular carrera. Efectivamente, el público del Liceo que asistió al nacimiento de una voz tuvo la ocasión de disfrutar de la madurez vocal e interpretativa de Lavirgen. A este respecto, en 1968 lo distinguió con diferentes premios, entre ellos la Medalla de Oro del Liceo. El hábil empresario Juan Antonio Pamias lo convirtió en uno de los tenores de la casa, porque provocaba ovaciones como muy pocos artistas, contando además con sus admiradores: los “Lavirginistas”. En las temporadas de 1969/70 y 1970/71, revalidó sus triunfos con Carmen y Aida, ofrecidas en las correspondientes funciones de solemne inauguración de Temporada, lo que nos mostraba el reconocimiento que había alcanzado su nombre. El Liceo, donde obtuvo unos éxitos arrolladores, lo contrató ininterrumpidamente desde 1964 hasta 1982. El repertorio del tenor fue ampliándose desde 1966 a 1970 con la incorporación de nuevas óperas: Il trovatore, Rigoletto e I vespri siciliani de G. Verdi; Adriana Lecouvreur de F. Cilea; Madama Butterfly de G. Puccini; Andrea Chénier de U. Giordano; Lohengrin de R. Wagner; Lucia de Lammermoor de G. Donizzetti, y María del Carmen de E. Granados. Analizando los títulos y representaciones de este quinquenio deducimos que: Su repertorio abarca 19 óperas. Los seis títulos más representados son: Aida (43 representaciones), Carmen (22), Il trovatore (21), Marina (18), I pagliacci (16) y Tosca (14). 1119
Tenor Pedro Lavirgen. Trayectoria de una voz Los 13 títulos restantes los representa en menor número (véase Gráfico nº 2) Predomina el repertorio italiano. Cinco de ellas pertenecen a G. Verdi. Tres óperas son españolas: Marina de E. Arrieta, La Dolores de T. Bretón y 1120 20 18 16 14 12 10 8 6 4 2 0 1 María del Carmen de E. Granados. Lohengrin de R. Wagner constituye la única incursión de su carrera en el repertorio alemán. Junto a Rigoletto fue un título igualmente descatalogado. b) El periodo comprendido entre 1971 y 1977 representa la cumbre de la carrera de Pedro Lavirgen. Ante el público español, americano, canadiense, japonés, venezolano y europeo, el tenor va forjando su nombre en cada uno de los escenarios, merced a una autoexigencia y una excelente fibra artística. Se había hecho acreedor de una merecida fama de cantante de ópera internacional y por ello ocupaba su puesto de divo. 3 Gráfico nº 2. Títulos y representaciones 1966-1970 Analizando los títulos representados durante estos siete años (véanse los correspondientes Gráficos nº 3 y nº 4), podemos observar: El catálogo de óperas abarca 26 títulos. 6 La Dolores Cavalleria rusticana Turandot Lohengrin Norma Lucia de Lammermoor 3 2 6 4 1 1 4 Don Carlo Madama Butterfly Adriana Leconvreur Rigoletto Andrea Chénier I vespri siciliani María del Carmen 3 6 3
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UNIVERSIDAD DE CÓRDOBA DEPARTAMENT
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TENOR PEDRO LAVIRGEN. TRAYECTORIA D
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Tenor Pedro Lavirgen. Trayectoria d
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PARTE TERCERA Parte tercera. Escena
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3.4. NORMA EN PHILADELPHIA Parte te
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PARTE CUARTA AÑOS PARA EL ÉXITO (
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3. EN LA CÚSPIDE (1975-1976) Parte
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***** ***** Parte cuarta. Años par
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PARTE QUINTA CAMBIOS EN LA ESCENA (
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1.1. LA NUEVA REALIDAD ESPAÑOLA Qu
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2.5. TRES TÍTULOS PARA OVIEDO Quin
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TOMO II
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1250 Apéndices
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