Magdalena de Heitor Villa-Lobos: la música clásica, el escenario de Broadway y los retos de la reimaginación
DOI:
https://doi.org/10.46661/ccselap-14300Palabras clave:
Musical de Broadway, tropicalización, Villa-Lobos, música latinoamericana en los Estados Unidos, adaptaciónResumen
Este ensayo analiza Magdalena, el único intento del célebre compositor brasileño Heitor Villa-Lobos de componer un musical de Broadway, estrenado en 1948. Hasta poco, la musicología “seria” no se ocupaba del musical. Hoy día, no obstante, muchos investigadores estudian el musical—considerado por muchos como el género estadounidense por antonomasia—desde perspectivas estéticas sociales, culturales y políticas. El estudio musicológico de la obra de Villa-Lobos demuestra esta predisposición: anteriormente los musicólogos se concentraban en sus sinfonías, sus obras para piano, su música de cámara y sus óperas, haciendo caso omiso de Magdalena. En este ensayo, Magdalena es el foco principal. Evalúo el estatus de Villa-Lobos en los Estados Unidos, identificando temas en la recepción crítica de su obra que reflejan las impresiones de la música latinoamericana en los Estados Unidos. Propongo que Magdalena, conocido en ámbitos teatrales como “el musical latinoamericano,” constituye un capítulo, aunque breve, del fenómeno conocido como la “tropicalización,” término acuñado por Frances R. Aparicio y Susana Chávez-Silverman para denominar la tendencia por parte el público estadounidense de reducir América Latina a una fantasía unitaria, fenómeno que también corresponde a los valores del musical de Broadway clásico. Por último, ya que muchos musicales clásicos siguen siendo reformulados hoy día de acuerdo con actitudes actuales sobre raza, clase, género e identidad, ofrezco posibles reconceptualizaciones de Magdalena.
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Derechos de autor 2023 Carol A. Hess
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