{"id":76378,"date":"2026-10-19T14:00:40","date_gmt":"2026-10-19T12:00:40","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=76378"},"modified":"2026-10-19T14:25:14","modified_gmt":"2026-10-19T12:25:14","slug":"mehr-als-nur-ein-faksimile","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/2026\/10\/mehr-als-nur-ein-faksimile","title":{"rendered":"Un\u2019opera nata nelle circostanze pi\u00f9 avverse"},"content":{"rendered":"
\"\"
L'ex ghetto ebraico di Theresienstadt, dove Viktor Ullmann compose \u00abL'imperatore d'Atlantide\u00bb. Foto: Wikimedia Commons<\/figcaption><\/figure>\n

Viktor Ullmann fu trasferito a Theresienstadt l\u00ab8 settembre 1942. L\u00ec, insieme a Hans Kr\u00e1sa, Gideon Klein e Rafael Sch\u00e4chter, assunse la direzione musicale delle cosiddette \u00bbattivit\u00e0 ricreative\u00bb nel ghetto. Fu qui che compose la sua opera L'imperatore di Atlantide<\/em>. Nell'ottobre del 1944 Ullmann fu deportato ad Auschwitz con uno degli ultimi trasporti e l\u00ec assassinato.<\/p>\n

Ci \u00e8 voluto molto tempo prima che il facsimile fosse pronto per il Imperatore di Atlantide<\/em> pubblicato da B\u00e4renreiter \u2013 l\u2019attesa \u00e8 valsa la pena. Il volume di grande formato, di quasi 300 pagine, non contiene solo il facsimile della partitura. Contiene anche le diverse versioni del libretto: quella manoscritta di Peter Kien e la sua trascrizione dattiloscritta, redatta sul retro di protocolli di deportazione ormai inutilizzati relativi a ebrei di Theresienstadt. Testimonianze angoscianti di crudelt\u00e0.<\/p>\n

Decimazioni, deportazioni e morte<\/h3>\n

La curatrice Heidy Zimmermann, ricercatrice presso la Fondazione Paul Sacher di Basilea, dove \u00e8 conservata una parte del lascito di Ullmann in deposito dal Goetheanum di Dornach, ha cos\u00ec realizzato un\u2019opera preziosa e importante. L\u2019opera da camera, della durata di circa un\u2019ora, viene ormai rappresentata regolarmente su palcoscenici di varie dimensioni. Tuttavia, il contesto complesso dell\u2019opera, cos\u00ec importante per i suoi autori, tende a sbiadire con il passare del tempo.<\/p>\n

Qui Zimmermann mette a nudo senza mezzi termini la realt\u00e0 del processo creativo: la carenza di carta nel ghetto, che costringeva incessantemente i prigionieri creativi a cercare soluzioni alternative; le continue decimazioni dei partecipanti a causa delle deportazioni e della morte, che alla fine impedirono anche la prima rappresentazione nel campo; la seriet\u00e0 con cui Kien, Ullmann e gli interpreti si sono confrontati con l\u2019opera, tanto che esistono, ad esempio, diverse versioni del titolo dell\u2019opera. \u00c8 riprodotto in facsimile anche il libretto di Karel Bermann nel ruolo della \u00abMorte\u00bb. A ci\u00f2 si aggiungono scoperte particolari e finora sconosciute: due bozzetti originali di scenografia di Franti\u0161ek Zelenka, un disegno a lavaggio di Peter Kien raffigurante una prova dello spettacolo e una vignetta illuminante sul libretto, anch\u2019essa di Peter Kien. Il volume \u00e8 completato da cinque saggi specialistici, un elenco delle fonti e una sinossi delle versioni del testo. Il volume in facsimile rappresenta l\u2019introduzione perfetta e un\u2019importante base scientifica per tutti coloro che desiderano approfondire l\u2019opera, ad esempio in vista di una nuova messa in scena.<\/p>\n

\"\"<\/p>\n

Viktor Ullmann: L\u2019imperatore di Atlantide o Il rifiuto della morte, facsimile delle fonti, a cura di Heidy Zimmermann, 295 pagine, \u20ac 199,00, B\u00e4renreiter, Kassel 2025, ISBN 978-3-7618-2350-7<\/em><\/p>","protected":false},"excerpt":{"rendered":"

L'opera di Viktor Ullmann \u00abL'imperatore d'Atlantide\u00bb \u00e8 stata composta nel campo del ghetto di Theresienstadt. Ora le fonti sono disponibili in formato facsimile, corredate da numerosi materiali aggiuntivi e saggi scientifici. <\/p>","protected":false},"author":58093,"featured_media":76546,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1214,29],"tags":[2200,5887,1774,5886],"class_list":["post-76378","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-buecher-rezensionen","category-rezensionen","tag-baerenreiter","tag-der-kaiser-von-atlantis","tag-oper","tag-viktor-ullmann"],"acf":{"author":"Verena Naegele"},"yoast_head":"\nEine Oper, die unter schlimmsten Umst\u00e4nden entstand - 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