De Beethoven a Beijing

LONDRES – El 1 de julio de hace diecisiete años, zarpé, en el Yate Real de Gran Bretaña, de Hong Kong, donde, en la medianoche del día anterior, China asumió la soberanía conforme a un acuerdo internacional con el Reino Unido (presentado en las Naciones Unidas) conocido como Declaración conjunta. Dicho acuerdo garantizaba la forma de vida de Hong Kong durante cincuenta años, conforme al lema de Deng Xiaoping: “Un país, dos sistemas”. El Estado de derecho y las libertades asociadas con el pluralismo –las debidas garantías procesales y la libertad de opinión, reunión y culto– iban a seguir siendo la base de la prosperidad y la estabilidad de Hong Kong.

Vuelvo a este año. En una fecha que tanto significaba para mí personalmente, como último gobernador de la colonia, y mucho más para los ciudadanos de Hong Kong, asistí a una magnífica producción del Fidelio de Beethoven en los jardines de una casa de campo cerca de Oxford. La única ópera de Beethoven, escrita en 1805 (el año de la victoria de Napoleón en Austerlitz) y reescrita en 1814 (cuando Napoleón abdicó) es una de las expresiones culturales supremas de los valores humanos fundamentales –la libertad y la oposición a la tiranía– que resuenan en todas las sociedades.

El momento más dramático de Fidelio se produce cuando los presos políticos son liberados brevemente de sus mazmorras. “¡Oh, Cielos! ¡Salvación! Felicidad”, cantan. “Oh, Libertad! ¿Te nos concederán?” Mientras cantan a la libertad, los rayos del ocaso deslumbraban a los presos y al auditorio de Oxfordshire. La Naturaleza subrayó la importancia del mensaje.

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