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CARMINA BURANA

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March 17th, the DOME of Marseille – France- hosted DPF prod’ for an outstanding presentation of ‘ Carmina Burana ‘, composed by Carl Orff, a famous lyrical work that begins with a beautiful and magnificent praise to the glory of the goddess Fortuna….

Created in 2009, during the Sainte Victoire Nights, in Peynier Open Theatre, France, with the Orchestra, Choir and Ballet of Ukraine National Opera – Lviv, led by the talented chief Grigory Penteleïtchouk, this story – choreographed to be closest to the wish of the composer who wanted to create a work representative of the Theatrum Mundi – is told by Ève Ruggieri whose talent is recognized by all.

Carmina Burana, a new choreographed and narrated version

Based on 24 medieval poems from a book called Carmina Burana –with Latin, Middle High German and old English texts, the show deals with universal topics as the fluctuation of fortune and wealth, the ephemeral nature of life, the joy brought by the return of spring, the pleasures of alcohol, food, lust, violence and barbarism, sadness and tenderness, represented here by a big painting showing the Universe in the Renaissance style.

Faithful to the composer’s will, each musical moment is accompanied by an action on stage: the singing, the music and the movement seem to be inseparable. The songs are interpreted by three gifted lyric singers: a vigorous and ample baritone, a smooth Soprano with shimmering graves and a beautiful tenor. The choreography, a modern one including some classical elements, reveals the dancers as the mirror of the audience. The dancers and soloists are quite good in their dancing. And, in spite of some length and redundancies in the movements of joy, or some excessive softness where one would have preferred more strength, the choreography is interesting. The Choir and Orchestra are directed with talent by the Chief, also artistic director of this production. Ève Ruggieri tells us with enthusiasm and passion Carl ORFF’ sad story: without any private finance, in spite of the immediate success of his work which brought him in 1937 at the top of the international scene, he has to ally himself with Hitler.

This cruelly questions the limits of artistic freedom and the recuperation of artistic works by the political power. Then, Ève Ruggieri quotes the beginning of the Cantata: ‘ one day you are powerful, the next day you are more nothing ‘, a disturbing premonition.

Carmen Suite

This creation followed the ballet ‘Carmen Suite’, a rewriting of ‘Carmen'(Bizet), including the famous farandole from l’Arlésienne and other well-known tunes from the repertoire. Ève Ruggieri explains us that the first presentation of ‘Carmen’, four years after the Commune, in 1875, had shocked the audience. This incident is an opportunity for her to make a great tribute to a free woman whose life was a struggle against injustices, fighting for more brotherhood and freedom, which may have inspired Bizet’s Carmen, Louise Michel, a famous french feminist. The creation of ‘Carmen Suite’ – signed Shchedrin -, in 1967, occurred during the revival of traditional values too… Then, the audience is ready to appreciate this contemporary ballet inspired by a masterful work. Shchedrin adds the character of death, magnificently embodied by a dancer, to give more meaning to the ballet. The choreography – even there is no singing- is more theatrical than in ‘Carmina Burana’ and very subtle, especially concerning the main characters of this drama: Mikaela performs a more aerial dance than the feline Carmen, whose dance steps are anchored to the ground, offering a more earthy dance; one can also appreciate Escamillo whose virile dance contrasts with the gravity of the neglected lover, a moving Don José, torn with pain and hatred. All these elements lead to a beautiful way to rediscover Bizet.

An original production aimed to democratize lyrical Art

‘Carmen Suite’ and ‘Carmina Burana’ are touring in France until the end of the year 2011. Therefore, if you want to be introduced to classical works, feel free to discover these two young creations responding to a peculiar desire: democratize the lyrical art. Indeed, Franck Dompietrini, DPF Prod’ s Director, wishes to open the doors of the Lyric to the greatest number, including young people and those who don’t have so much money to go to an opera or do not dare pushing the door of these major theatres. That is why he presents these works in Zéniths, and keeps 20 percent of the seats to 20 euro tickets, which is rare in big productions – more than 160 artists on stage. The production is sponsored only by private companies, without any appeal to subsidies and this original initiative has attracted businessmen -they can enjoy a prestigious show to invite their customers and do business during a friendly and festive evening-, but also young people, students and unemployed – without these prices they could not access this popular culture such as Opera.

Of course, in France, many Opera defenders would say this is a improper way for Opera’s pauperization; which is unsuitable to this great art. They would argue that the absence of public subsidies shows the low quality of these productions, dedicated to promote marketing operation to seduce rich private companies. This kind of criticism is unfortunately very common in France: for many intellectuals – including french cultural Medias-, there is only Culture if there is subsidies to help the artistic production. The other kinds of sponsored creations are considered as sub culture. However, in these times where subsidies are in decline, some artists should rethink the economy of culture, and stop, for utopian values such as artistic freedom – they have to give account for their production when they received public funds and in a way, they ally with the devil Money –, to oppose art and economy. May be some French artists should more think about their audience by offering quality works instead of only considering their own fun.

That is why we support such an initiative, trying to get best quality works addressed to all audiences. As the Director of DPF prod says, ‘ culture is openness and diversity. I want to break the codes and open culture. It can be source of inspiration for companies by releasing their creative energy ‘. The Marseille audience has welcomed the show with honor and standing ovation. The next creation of DFP prod will be ‘Carmen’ in 2012 but before this, you could find an original creation during the Sainte Victoire Nights introducing the history of Castrati, with Eve Ruggieri; ‘the elixir of love’ by Donizetti and an evening dedicated to Tchaikovsky! DVDM

Copyright Photos CARMEN SUITE: F.Fleury
Copyright Photos CARMINA BURANA: Pixeomedia


Eve Ruggieri’s interview

During the touring of Carmina Burana, we had the chance to meet Eve Ruggieri, a passionate woman, born in 1939, who had launched the career of many artists including Roberto Alagna or Nathalie Dessay to quote only these two international great voices. We won’t present her work as she is very famous on french TV with many popular shows on Tf1 and France 2 – her famous Musiques au coeur – and radio on France Inter then France music.

DVDM: How was your passion for the Opera born?

E.R: My passion for the lyric came lately; at first, the Opera made me laugh, with its large ladies. When I was out of a possible career as pianist -Editor’s Note: she was the first prize in piano from the Nice Musical Conservatoire –, I lived in Paris and I often went to the Opera. Then I discovered Opera had changed substantially since Maria Callas. The singers had a nice physics and drama found its own place in the Art direction. I also had the chance to participate in numerous auditions but I have never wished to become a lyric singer, I have no voice.

DVDM: Why have you been involved in Franck DOMPIETRINI’s project?

ER: It is urgent to democratize the Lyric Art. There must be an adapted and voluntary price policy for young generations to give them the taste for lyric. Business is also important. It is a question of survival today. Before, there was a formation of the audience, we learned music at the school, and now, all this has disappeared. And without the sponsorship of private enterprises, without the renewal of the audience, there will be no more opera singers or any orchestra, only Operas’ screenings and barbarism will swamp our culture and the world. I was convinced by Franck Dompietrini project when I met him at the festival of Saint Victoire Nights. Since, I discovered new places, the zeniths, places where I never went before…

DVDM: Can you explain us a little more on the history of castrati you will tell during the Sainte Victoire Nights?

ER: I will tell their exciting history which fascinates so many people. Musical literature is devoted to the castrati, their virtuosity and the beauty of their voices until Wagner.

Interview by Diane Vandermolina

Rmt News Int • 27 mars 2010


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