{"id":121649,"date":"2025-06-02T14:33:10","date_gmt":"2025-06-02T12:33:10","guid":{"rendered":"https:\/\/www.iemj.org\/camondo-isaac-de-1850-1911\/"},"modified":"2025-06-03T14:37:19","modified_gmt":"2025-06-03T12:37:19","slug":"camondo-isaac-de-1850-1911","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/it\/camondo-isaac-de-1850-1911\/","title":{"rendered":"Camondo, Isaac de (1850-1911)"},"content":{"rendered":"\n<!--more-->\n\n\n\n<p>Nato da un&#8217;illustre famiglia italiana di banchieri stabilitasi a Costantinopoli, Isaac de Camondo eredit\u00f2 la banca di famiglia insieme al cugino Mo\u00efse, oltre ad essere un collezionista d&#8217;arte, mecenate e compositore. Con la famiglia si trasfer\u00ec a Parigi nel 1867; il padre Abramo costru\u00ec un albergo al numero 61 della rue de Monceau, accanto a quello del fratello Nissim, che sorgeva sul sito attuale del Mus\u00e9e Camondo.<\/p>\n\n\n\n<p>Appassionato di arte e musica, Isaac prese lezioni di pianoforte con Henri Ravina (1818-1906) e di composizione con Gaston Salvayre (1847-1907), che vinse il Grand Prix de Rome nel 1872 e con cui rimase amico fino alla morte.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:65%\">\n<p>Dall&#8217;et\u00e0 di 30 anni, Camondo collezion\u00f2 oggetti d&#8217;arte, i cui lasciti successivi arricchirono diversi dipartimenti del Mus\u00e9e du Louvre; i suoi dipinti impressionisti, in particolare, costituiscono la collezione principale del Mus\u00e9e d&#8217;Orsay, dal <em>Fifre <\/em>di Manet alle danseuses di Degas, senza dimenticare i quadri della sala Monet.<\/p>\n\n\n\n<p>Tra il 1870 e il 1889, Camondo pubblic\u00f2 una quindicina di pezzi per pianoforte, soprattutto polke e valzer, oltre a due melodie, <em>La chanson du berger<\/em> e <em>Laisseras-tu mignonne<\/em>, su testi dell&#8217;amico Paul Choudens. Ma da ardente wagneriano &#8211; si rec\u00f2 a Bayreuth non appena il teatro fu inaugurato nel 1876, per poi tornarvi nel 1882 con L\u00e9o Delibes (1836-1891) e Gaston Salvayre per assistere alla prima del <em>Parsifal<\/em> -, cerc\u00f2 una nuova strada e rimase in silenzio dal 1889 al 1903.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full\"><img fetchpriority=\"high\" decoding=\"async\" width=\"508\" height=\"376\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/06\/Image1-Le-piano-Erard-de-Camondo-dans-la-salle-des-Degas-a-son-domicile-82-avenue-des-Champs-Elysees.jpg\" alt=\"\" class=\"wp-image-121545\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/06\/Image1-Le-piano-Erard-de-Camondo-dans-la-salle-des-Degas-a-son-domicile-82-avenue-des-Champs-Elysees.jpg 508w, https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/06\/Image1-Le-piano-Erard-de-Camondo-dans-la-salle-des-Degas-a-son-domicile-82-avenue-des-Champs-Elysees-300x222.jpg 300w\" sizes=\"(max-width: 508px) 100vw, 508px\" \/><figcaption class=\"wp-element-caption\"><strong>Il pianoforte Erard di Camondo nella stanza dedicata a Degas nella sua casa, 82 avenue des Champs-Elys\u00e9es<\/strong><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p>In questi 14 anni non pubblic\u00f2, ma si dedic\u00f2 al mecenatismo: dal 1898 divenne il principale sponsor (per circa il 10% del capitale) dell&#8217;Op\u00e9ra-Comique, diretta dall&#8217;amico Albert Carr\u00e9, e, dal 1901, dell&#8217;Op\u00e9ra. Soprattutto, permise a Gabriel Astruc (1864-1938), figlio del rabbino Aristide Astruc, di fondare nel 1904 la Soci\u00e9t\u00e9 musicale, una casa editrice ed agenzia di concerti, alla quale fu associato finanziariamente. Nel 1908 divenne azionista della Soci\u00e9t\u00e9 du th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es, ma la sua morte gli imped\u00ec di partecipare all&#8217;inaugurazione del teatro nel 1913.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"332\" height=\"500\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/06\/Le_Clown_-_Opera_by_Isaac_de_Camondo_Redim.jpg\" alt=\"\" class=\"wp-image-121556\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/06\/Le_Clown_-_Opera_by_Isaac_de_Camondo_Redim.jpg 332w, https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/06\/Le_Clown_-_Opera_by_Isaac_de_Camondo_Redim-199x300.jpg 199w\" sizes=\"(max-width: 332px) 100vw, 332px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>La prima di <em>Pelleas et M\u00e9lisande<\/em> di Debussy all&#8217;Op\u00e9ra-Comique nel 1902 potrebbe averlo spinto a ricominciare a comporre; lavor\u00f2 quindi attivamente, adottando un linguaggio armonico decisamente moderno, persino sperimentale. Astruc pubblic\u00f2 circa 80 opere, per lo pi\u00f9 per quartetto d&#8217;archi od orchestra. Le present\u00f2 in un concerto da lui organizzato alla Salle Pleyel il 10 marzo 1904, con Lazare-L\u00e9vy al pianoforte e Camille Chevillard, direttore dei concerti di Lamoureux, a dirigere. Nell&#8217;aprile del 1906, al Nouveau-th\u00e9\u00e2tre, mise in scena il \u201cromanzo musicale\u201d <em>Le Clown<\/em>, su libretto di Victor Capoul &#8211; il cui stile recitativo ricordava quello di <em>Pelleas<\/em>. L&#8217;opera fu ripresa all&#8217;Op\u00e9ra-Comique nel giugno 1908, nonch\u00e9 a Marsiglia, Vichy, Anversa e Colonia tra il 1909 e il 1912<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>La ripresa dell&#8217;attivit\u00e0 compositiva non gli impedisce di continuare la sua attivit\u00e0 di mecenate: nel 1904 fonda la Soci\u00e9t\u00e9 des artistes et amis de l&#8217;Op\u00e9ra, destinata a sostenere finanziariamente l&#8217;Association philanthropique de secours mutuel des artistes de l&#8217;Op\u00e9ra, che non era pi\u00f9 in grado di garantire ai suoi membri una pensione dignitosa.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:72%\">\n<p>Partecip\u00f2 attivamente anche alla vita musicale: dopo aver aderito nel 1909 alla Soci\u00e9t\u00e9 fran\u00e7aise des amis de la musique, il cui scopo era quello di diffondere il gusto e lo studio della musica e di permettere agli artisti poveri di far eseguire la loro musica, aiut\u00f2 la contessa Greffulhe, presidente della Soci\u00e9t\u00e9 des grandes auditions musicales de France, a sponsorizzare la stagione del balletto russo nel 1910 e sostenne la Soci\u00e9t\u00e9 musicale ind\u00e9pendante (SMI). Condividendo la sua vita con Lucie Berthet, soprano dell&#8217;Op\u00e9ra, Camondo fu sempre pronto ad aiutare i musicisti, tra cui Wanda Landowska, arrivata a Parigi nel 1900, e il giovane Lazare-L\u00e9vy. Mor\u00ec improvvisamente nel 1911 nel suo appartamento, proprio quando la sua opera <em>Le clown<\/em> doveva essere rappresentata a Colonia l&#8217;anno successivo<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"462\" height=\"346\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/06\/Image2-De-g.-a-d._G.-Salvayre-Camondo-et-les-pianistes-Lazare-Levy-1882-1964-et-Ernest-Schelling-1876-1939-dans-la-salle-des-Degas-vers-1904.jpg\" alt=\"\" class=\"wp-image-121564\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/06\/Image2-De-g.-a-d._G.-Salvayre-Camondo-et-les-pianistes-Lazare-Levy-1882-1964-et-Ernest-Schelling-1876-1939-dans-la-salle-des-Degas-vers-1904.jpg 462w, https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/06\/Image2-De-g.-a-d._G.-Salvayre-Camondo-et-les-pianistes-Lazare-Levy-1882-1964-et-Ernest-Schelling-1876-1939-dans-la-salle-des-Degas-vers-1904-300x225.jpg 300w\" sizes=\"(max-width: 462px) 100vw, 462px\" \/><figcaption class=\"wp-element-caption\"><strong>Da sinistra a destra: G. Salvayre, Camondo ed i pianisti Lazare-L\u00e9vy (1882-1964) ed Ernest Schelling (1876-1939) nella sala Degas intorno al 1904<\/strong><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":121543,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1416],"tags":[],"technique":[],"squelettes":[],"sujet":[],"formation":[],"genre":[1901],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-121649","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-biografie-it","genre-musica-classica-it"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Camondo, 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