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Tenor Pedro Lavirgen. Trayectoria de una voz actuaciones en Viena, Arena de Verona, Covent Garden y su entrada triunfal en la Scala de Milán. Son años polémicos en la Historia de España, con revueltas sociales en el Gran Teatro barcelonés –donde interviene en la inauguración de la Temporada–, o para un insólito acontecimiento como el secuestro que sufre encontrándose en Caracas. A pesar de los numerosos viajes y compromisos con los escenarios, aún queda tiempo para el estudio de nuevas partituras. Junto a Simón Boccanegra, L’ amore dei tre re o Samson y Dalila del bienio anterior, añade el verdiano Requiem, Otello, I Masnadieri, I due Foscari y Un ballo in maschera. 426 En este último bloque, siguiendo la carrera profesional de Pedro Lavirgen, hemos optado por seguir nuevamente el relato cronológico. A este respecto, intentamos reproducir la intensidad emocional que debió acompañarle en cada representación, día a día, mes a mes, con los desplazamientos correspondientes hasta completar en 1975 y 1976 hasta 71 y 56 actuaciones, respectivamente.
Parte cuarta. Años para el éxito (1971-1977) 1. ESCALANDO HACIA LA PIRÁMIDE, 1971-72 Pedro Lavirgen se encuentra en un momento de gran plenitud artística. Las páginas musicales que afronta le exigen el dominio de una técnica vocal que le permita utilizar su voz con el mayor provecho. Uno de los pilares de la técnica vocal es la respiración, pues sin un buen apoyo es imposible mantener una resonancia natural que posteriormente permita la proyección de la voz hacia los resonadores. Su control sobre el aire, sobre el fiato, le permite –siguiendo su gran instinto musical– un fraseo en el que parece no agotarse el aire. Dar intencionalidad a cada frase, unido a la expresión, a la dinámica, a la fuerza adecuada a cada momento y la brillantez de su registro agudo –toda ellas cualidades reflejadas por las críticas– le permiten una recreación única para cada personaje. Manrico, Radamés, Canio, Pollione, Calaf, Don José, Don Carlo, Don Álvaro, Andrea Chénier son los personajes que conforman un repertorio sobre el que se ha estabilizado, pero también incorpora otros roles, como Macduff, Samson, el joven héroe verdiano Gabriele Adorno de Simon Boccanegra y Avito de la ópera L’amore dei tre re de Italo Montemezzi. Además de estas cualidades, conviene que subrayemos la especial faceta de Pedro Lavirgen por la que hace vivir sensaciones al público: su capacidad para hacer creíble lo que sucede en el escenario, que lo haga llorar, reír en todas las gradaciones sentimentales posibles. Meterse en la piel de cada personaje y resultar convincente es una tarea ardua y necesaria para el público de la ópera. En presencia escénica, casi podríamos hablar de una predisposición natural hacia el teatro, pero sostenida por un estudiado análisis del movimiento, donde ningún paso, aunque lo parezca, queda al azar. El propio carácter dramático de los personajes que dan nombre a su cuerda, viene nuevamente a demostrarnos que 427
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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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LISTA DE ABREVIATURAS A H.P.C. Arch
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PARTE TERCERA Parte tercera. Escena
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Parte tercera. Escenarios internaci
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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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