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Tenor Pedro Lavirgen. Trayectoria de una voz cuatro funciones de Carmen que contaron con el distinguido tenor cordobés. 213 Durante esta presencia en Tokio interviene en un programa en “Homenaje a Caruso”, de una hora de duración, que realiza la cadena Nacional Nipona de Televisión. 214 514 Don José vuela desde Tokio hasta Miami, al Dade County Auditórium, en que se inicia la temporada de abono con Carmen. Dos tenores alternan en la cartelera, Lavirgen-Corelli; pero la misma noche del estreno, el italiano se encuentra indispuesto y en el último momento le sustituye Pedro Lavirgen. The Miami Herald comenta cómo es resuelto este contratiempo y cómo el español encarna al personaje de manera creíble y meritoria: “In the dubious realm of last-minute substitutes, Pedro Lavirgen, the new Spanish tenor, whose debut was planed for tonight, had the promise of stardust, sprinkled lightly over a demanding role. Lavirgen’s Don Jose needs imagination, too, to give the corporal stature, and to know his place in duets, which is not to show off at the climax and drown out the soprano. Yet he is a plainly credible and creditable Don Jose, with a sweet lyric tenor of moderate size and potential, plus a penchant, for emphasizing the Don’s dereliction at the corrida conclusion, despite a poorly made up face.” 215 También el diario The Miami News, ofrece el testimonio de la segunda función. Junto a la mezzo Joy Davidson (Carmen), Adriana Maliponte (Micaela) y Norman Treigie (Escamillo), dirigidos por Emerson Bucle, tuvo un exitoso comienzo el tenor Pedro Lavirgen, ofreciendo un Don José de primera clase: 213 Programa de temporada. Tarjeta de mano. Carmen,The Fujiwara Opera Bunka-Kaikan. Las funciones son los días 28 y 30 de enero, 1 y 3 de febrero de 1973. El distinguido tenor dramático actúa junto a Michico Sunahara (Carmen), Emiko Koga (Micaela) y el Escamillo Piero Francia, dirigidos por la batuta de Tadashi Mori y el montaje de Piero Faggioni. 214 El programa televisivo es anotado con fecha 4 de febrero en el libro de contabilidad. Se hace también referencia al mismo en la entrevista GUERRERO, M.: Pedro Lavirgen, una generosidad vocal sin límites”, en: La Vanguardia Española, 23 noviembre 1973, p. 53. 215 “En el discutible campo de las substituciones de último minuto, Pedro Lavirgen, el nuevo tenor español, cuyo debut se planeaba para esta noche, tuvo la promesa del polvo de estrella, rociado suavemente sobre un papel difícil. El Don José de Lavirgen necesita también imaginación, para dar la estatura corporal, y para saber su lugar en los duetos, que no es lucirse en el clímax y ahogar a la soprano. Pero él es un obvio Don José creíble y meritorio, con un dulzura de tenor lírico de talla moderada y potencial, más que una tendencia, para enfatizar el abandono de Don José en la tórrida conclusión, a pesar de una cara pobremente maquillada.” Confróntese ROOS, J.: “Exceptional voices highlight «Carmen»”, en: The Miami Herald, 12 febrero 1973, p. 6-D. Recoge una instantánea tomada durante la representación de Lavirgen con Joy Davidson (Carmen).
Parte cuarta. Años para el éxito (1971-1977) “He was a first-rate Don José, a stalwart soldier inextricably ensnared. His upper range is strong and his tones pure. His pianissimi were beautiful, but I thought his lower range seemed husky on Saturday. His ardent vocalism and assured acting won the plaudits of the packed house. 216 Tras las funciones de abono (días 10, 12, 14 y 17 de febrero de 1973), la demanda de taquilla obliga a que se traslade la producción al Miami Beach Auditorium 217 . Haciendo en ella su presentación Justino Díaz, quien asumía el role de Escamillo. 218 En la presentación del barítono hispano-americano, calificado por The Miami Herald como un simpático torero, atrajo a un público bullicioso. La ópera alcanzó un excelente nivel en la representación, especialmente la del tenor que se recreó en la célebre aria de La flor: “The performance, which had points of improvement, specially Pedro Lavirgen fresher «Flower Song», slightly more spacious and a mite more sustained”. 219 Tras estos éxitos en Miami, el tenor recorrerá el norte del continente americano hasta alcanzar Canadá. La ópera de Québec, dentro de su XIII Temporada, incluye en un programa doble las dos breves óperas representativas del verismo italiano: Cavalleria y Payasos. Pedro Lavirgen interviene en diferentes escenarios canadienses haciendo de Canio en once ocasiones: en la sala Wilfrid-Pelletier del Gran Teatro de las Artes de Montreal ofrecerá seis representaciones (5, 7, 10, 12, 15 y 17 de marzo), 216 “Fue un Don José de primera clase, un valiente soldado inseparablemente seducido, engañado. Su registro superior es fuerte y sus tonos puros. Sus pianísimos fueron preciosos, pero pensé que su registro inferior pareció ronco el sábado. Su apasionada vocalización y segura representación ganaron los aplausos de la sala abarrotada”. Cfr. O’REILLY, W. “Opera Guild’s «Carmen» merits many «Oles»...” , en: The Miami News, 12 febrero 1973, p. 6 B. 217 Programa de mano. Carmen. Dade County Auditorium. Miami. EEUU. Opera Guild of Grater Miami, 12 febrero 1973. 218 Vid. “Opera Guild Production. «Carmen» performances begin on Saturday”, en: The Daily sunreporter, 6 febrero 1973, p. 12. Incluye una foto de estudio del tenor. 219 “La representación, que tuvo señas de mejoría, especialmente Pedro Lavirgen en una más fresca «Romanza de la Flor», un poco más amplia y algo más prolongada”. Confróntese ROOS, J.: “A friendlier Bullfighter Enter Ring”, en: The Miami Herald, 14 febrero 1973, p. 6 D. En realidad este artículo compara los dos barítonos que han alternado como Escamillo. 515
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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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PARTE QUINTA CAMBIOS EN LA ESCENA (
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1.1. LA NUEVA REALIDAD ESPAÑOLA Qu
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