Novela que gira en torno a la concepción de la ópera "Montezuma" de Antonio Vivaldi, la primera que toma como tema el Nuevo Mundo y en la que, además, los hombres de América desempeñan un papel lleno de nobleza, Concierto Barroco tiene como telón de fondo el encuentro entre dos continentes. Omnipresente a lo largo de la obra, la música, una de las disciplinas más queridas y dominadas por Alejo Carpentier (1904-1980), no sólo articula la fábula y le sirve de medio y vehículo, sino que adquiere al cabo en la obra un papel casi demiúrgico, como lenguaje que funde en una misma realidad -realidad maravillosa- tiempos y espacios, y hace confluir en ella a maestros antiguos y modernos de uno y otro lado del Atlántico.

Très bon ( )

A fun little novel from quite late in Carpentier's career, in which he illustrates his idea of the baroque as the definitive American style. The plot doesn't make much sense, as you would expect from a truly baroque work: a wealthy Mexican gentleman travels to Venice in the early 18th century accompanied by his black Cuban servant, they bump into Vivaldi during a carnival party and give him the idea of writing an opera about Montezuma, there's a jam session in the Ospedale della Pieta with Scarlatti and Händel on keyboards, Vivaldi on strings and the Cuban playing percussion, and this is followed by a picnic breakfast on Stravinsky's grave (we also get a glimpse of Wagner's funeral procession, a touching farewell at the railway station and a Louis Armstrong concert!).

In between, we learn that the plot of the opera Vivaldi writes, Motezuma(*) (apparently they couldn't decide between 'n' and 'c', and ended up with neither), is almost equally strange, featuring various love affairs between Mexicans and Conquistadors and a happy ending in which Cortes and Montezuma celebrate the friendship of their two peoples! The Cuban is disgusted by this distortion of history, but everyone tells him that the necessities of art take precedence.

It's all very fast-moving and entertaining, without any long philosophical asides, but there are also plenty of wonderfully baroque descriptions in which detail after detail is piled on to the point of absurdity (a gloriously decorated silver chamber pot plays an important role in several of these...). Not all that much to do with the Caribbean except in a very indirect sense, but definitely an enjoyable book.

(*)There really is such an opera, incidentally: first performed in 1733 it's thought to be the first ever written on an American theme. At the time Carpentier was writing only the libretto was known to exist, but the music has since been rediscovered in Kiev and became the subject of a complicated copyright dispute that would certainly have been grist to Carpentier's mill, had he known about it. (There is a recording now, you can listen to it on Spotify if you're curious...) ( )

Novela que gira en torno a la concepción de la ópera "Montezuma" de Antonio Vivaldi, la primera que toma como tema el Nuevo Mundo y en la que, además, los hombres de América desempeñan un papel lleno de nobleza, Concierto Barroco tiene como telón de fondo el encuentro entre dos continentes. Omnipresente a lo largo de la obra, la música, una de las disciplinas más queridas y dominadas por Alejo Carpentier (1904-1980), no sólo articula la fábula y le sirve de medio y vehículo, sino que adquiere al cabo en la obra un papel casi demiúrgico, como lenguaje que funde en una misma realidad -realidad maravillosa- tiempos y espacios, y hace confluir en ella a maestros antiguos y modernos de uno y otro lado del Atlántico. ( )

Lo compré por un párrafo memorable que leí en un libro-disco de música barroca. Se trata de un imaginario concierto en Venecia, con Vivaldi y su orquesta de hospicianas, Domenico Scarlatti, Haendel, y uno de los protagonistas, un negro venido de las Antillas, que toca todo tipo de percusiones. Ciertamente, es una escena fantástica, digna de cualquier antología, y a su lado el resto del librito se queda en simplemente bueno. ( )