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En el mundo entero son pocas, pero en Venezuela, en la historia más reciente que se escribe desde inicios del siglo XX resaltan tres nombres: María Luisa Escobar, Diana Arismendi y Sylvia Constantinidis.
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Por Roberto C. Palmitesta | @RPalmitesta
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Hablar sobre la Ópera en Venezuela es un tema interesante, más aún si nos enfocamos en los compositores, pero reviste un mérito especial si nos referimos a “las compositoras”, aquellas mujeres quienes con su enorme talento y valentía asumieron el reto de escribir óperas, para luego estrenarlas y brillar con ellas.
Pero antes de hacer cualquier referencia a los tiempos actuales, es obligatorio como antecedente y más que merecido mencionar el nombre de María Luisa Escobar. Es la compositora pionera de la Ópera en Venezuela, una mujer ejemplar y a quien en buena medida se le debe el desarrollo de las artes escénicas y musicales en el país. Ella fue nada menos que la fundadora del Ateneo de Caracas y la influencia de su trabajo todavía se siente hoy día gracias a los musicales en los que estuvo involucrada, junto a los numerosos eventos que ayudó a producir donde se fusionaron lo popular con lo sinfónico y el canto lírico.
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En lo que a la Ópera respecta, María Luisa Escobar estrenó en 1941 en el Teatro Municipal de Caracas su primera obra de teatro lírico titulada Orquídeas Azules, haciendo equipo y juntando talento con la escritora venezolana Lucila Palacios. Además era una consumada investigadora y gracias a su estudio sobre las leyendas indígenas venezolanas encontraría la fuente de inspiración ideal para escribir óperas como La Princesa Girasol y Guaicaipuro, basada en la vida del cacique venezolano y estrenada en 1951, una iniciativa maravillosa, que vale la pena rescatar por utilizar la ópera para promover, acentuar y enriquecer tanto la cultura como la historia venezolana.
Entre las compositoras contemporáneas más importantes de Venezuela sobresale el nombre de Diana Arismendi, uno de los motores principales del Festival Latinoamericano de Música, el único evento en su estilo que se realiza en el país con regularidad y de corte internacional dedicado a las nuevas obras entre otras cosas. Además, la maestra Arismendi es una de las docentes que ha formado a una importante cantidad de notables compositores, y no era de extrañarse que incursionara en el mundo de la Ópera.
Arismendi estrenó su primera ópera El Gato y la Golondrina en el Festival Casa Manilva de España, el 8 de agosto de 1993, y se presentó en cinco funciones en Manilva, Marbella y Málaga. Fue compuesta para cuatro solistas: soprano, mezzosoprano, tenor y bajo, narrador, orquesta de cámara y coro de niños. Basaba en un cuento de Jorge Amado, con libreto escrito por la propia compositora, fue parte de su tesis doctoral en The Catholic University of America. De esta manera es la única mujer venezolana que dentro de la tendencia de la música contemporánea escribió y llevó a escena una ópera durante el siglo XX.
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“El Gato y la Golondrina se basa en un cuento de Jorge Amado en una sugerente versión para teatro de títeres.
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Un gato malo, egoísta y solitario se enamora de una golondrina jovial, curiosa, alegre y conversadora. Los demás animales del parque murmuran. ¿Dónde se ha visto que un gato pasee por los rincones con una golondrina? Nadie comprende que debajo de su piel grosera y áspera pueda latir un tierno corazón. Es una historia de sentimientos no declarados y emociones contenidas. Una dulce promesa en el poder transformador del amor. Un canto a la amistad, a la tolerancia y a la naturaleza en todas sus manifestaciones”, explicó Diana Arismendi.
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En la actualidad, la compositora venezolana que más ha tenido notoriedad y exposición internacional en el campo de la ópera es la maestra Sylvia Constantinidis, pionera en el siglo XXI y además innovadora en la técnica de este estilo. Cuenta con 6 óperas estrenadas con gran éxito y este año planea dos nuevas premieres mundiales.
Las tres primeras óperas compuestas por la maestra Constantinidis fueron infantiles. Todo comenzó con el proyecto Opera Adventure, que creó con financiamiento del Education Funds y el Kirk Foundation, que le fue asignado tras ganar un concurso académico para promover la ópera en las escuelas, así surgió su primera ópera llamada Lincoln de la cual realizó tanto el guión como la música. Fueron elogiadas por la crítica en EEUU y premiadas por la Kennedy Foundation, también con el Young Patronesses of the Opera y con el Note Music Award en 2003, algo que ningún venezolano ha logrado.
“Gracias mi primera ópera Lincoln y su resultado, se llevó a escena 6 veces más, los patrocinantes tomaron más interés y solicitaron un guión para crear otras dos óperas similares, ya que les pareció una idea muy buena, en consecuencia terminé componiendo dos óperas más para niños: The First Thanksgiving y Ponce de León”, explicó la maestra Sylvia Constantinidis.
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El proyecto Opera Adventure fue absorbida institucionalmente y sus óperas infantiles se hicieron 5 veces más. El éxito la llevó a impartir seminarios y talleres para la formación de jóvenes músicos en el difícil campo de la ópera contemporánea. En 2011 compuso Amaranta, una ópera corta estrenada en Inglaterra y que recibió excelentes críticas dada la emotividad de su contenido, así como por el alto nivel compositivo que mostró.
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En 2018 al estrenar Afrodita, Sylvia Constantinidis innovó de manera considerable en el universo de la ópera contemporánea porque es cantada en 6 idiomas, usando cada lengua para describir personajes y estado de ánimo, algo que pocos autores han hecho en el mundo entero. Fue estrenada en Venecia, Italia y con una de las sopranos más prometedoras de Europa: Domenika Zamara, con quien luego la llevó a los escenarios de Francia, Inglaterra y EEUU recibiendo largas ovaciones.
Para finales de 2019 prepara el estreno en EEUU, de su nueva ópera: Araminta, que será cantada en español e inglés y dedicada a su Venezuela natal, para luego promoverla en Europa durante 2020. Mientras que con Afrodita, para el próximo año tiene planeado continuar con la gira promocional, lo que significa que dos de sus óperas estarán simultáneamente dentro de la programación de teatros y centros culturales en Europa y EEUU.
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La Zarzuela es un género musical muy cercano a la ópera que se genera en España y que tiene una gran tradición en Venezuela donde se ha ejecutado desde el siglo XIX en los teatros Municipal y Nacional. Este año, la maestra Constantinidis hace historia al convertirse en la primera venezolana en componer una zarzuela, la cual se titulará El Tartufo de la Marabunta y se estrenará en el sur de la Florida y en Texas, EEUU durante el último trimestre de 2019. Está inspirada en las situaciones absurdas e irrisorias de la sociedad actual venezolana, ya que la zarzuela es la versión española de la ópera bufa, por lo que se basa en la sátira.
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