Farewell my concubine
By the National Guo Guang Opera Company – Taipei- Taiwan
Directed and written by Wang An Chi
With Sheng Chien as Xiang Yu and Chen Mei Lan as consort Yu, Chun An Li as the phantom of consort Yu
Tropentheatre, Amsterdam on the 15th, 16thand 17th September 2011 at 20:30 / Tickets: 34euro/39euro
More http://www.tropentheater.nl/10474
Since its birth in 1995, Guo Guang has always combined traditional opera with modern theatrical concepts, in order to cultivate young audiences while satisfying older connoisseurs. The company experiments new techniques including modern stage design, light and multimedia effects. The company stages new operas, mixing old and modern literature. ‘The Fox tale’, a love story between an immortal fox and a young woman, based on an ancient plot, includes some elements inspired by Japanese modern drawings and is a total rewriting of the ancient story. These new creations have won numerous awards for their artistic achievement. Besides creating operas, Guo Guang makes educational tours to remote corners of the island, putting on shows in country schools and assorted temples, using makeshift stages, and visits old folks’ homes as well as children’s festivals where the troupe members teach “Chinese opera exercises” and “Opera dances” to cultivate interest among the uninitiated ones. They have a performing arts stage in South East Taipei where they present every month traditional operas for less than 15euro.
Following their original aim, Guo Guang proposes to European audience a rewriting of ‘Farewell my concubine, in search of a lost afternoon’. The Opera has become famous with the awarded movie Farewell My Concubine by Chen Kaige – 1993. The movie explores the effect of Mao’s political turmoil during the middle 20th century on the lives of individuals, families, and groups, focusing on two male stars in a Beijing Opera troupe – following the old tradition of beijing opera, the youngest one used to play the concubine of the oldest in the Opera- and the woman who comes between them. In 1994, the Contemporary Legend Theatre from Taiwan performed ‘Farewell my concubine’, the Opera, in France. Around eigtheen years after the movie, the Opera comes in Europe again, in a very new version performed by the Guo Guang company. In this version, the costume design is a recreation of the traditional Beijing opera style costume: some part of the makeup and the color of the costumes refer to Beijing opera but the cut and some materials are more modern.
The original Opera tells the story of Lord Xiang Yu, a hero from the Qin Dynasty, whose fight at Gai Xia against a villain, Liu Bang, leads his concubine, Yu Ji, to commit suicide in order to relieve his concern for her, as proof of her love for him. The Guo Guang rewriting focuses more on the wander of Yu Ji after her suicide, when she meets in the underworld Xian Yu’s battle companion, Wu Zhui who sacrificed himself to his lord. They wonder if their lord succeed or not in the battle, or killed himself with his sword. In another place, Xian Yu who cut his throat after the defeat is looking for his head and meets Fan Zeng who advised him to defeat his enemy by underhanded means, what he did not do, and died of sorrow. Does Xian Yu have to regret his choice? Will he meet his lover again? The rewriting of the story is very close to Greek tragedy in which the hero is questioning himself. The questioning leads to the emergence of the invidual choice, like Antigun who chooses to bury her brothers following the tradition against the established rules. The question of the responsibility in one’s life is raised here with acuity.
No doubt the artists on stage and the opera singers will offer the audience an extremely achieved performance with lyrical moments, martial arts and acrobatics in the very Beijing opera style. DVDM
The Theatre des Halles, in collaboration with the Korean Cultural Center and the Chapelle du Verbe Incarné, invited this year several companies from South Korea, knowing that the year of the Korea in France will profile soon. Among the performances, we can discover a creative one, mixing with intelligence tradition and modernity. ‘ Pansori Brecht Sacheon-Ga’, or ‘says of Sichuan’, is inspired of ‘ the good soul of Se-Tchouan’ written by Brecht, revisited with humor beyond any Manichaeism – often associated to the Socialist Marxist thought – by Lee Jaram, staged by Nam In Woo.
The original show has been reduced to agree the Off format and includes delicious references to the Cite des Papes, including the bridge of Avignon – one of the scenes was transposed to Avignon, which is not without remind us the performance of the Taiwanese Hsu Yen Ling in 2009.
Brecht’s text, rewritten and reframed in the current Korea, with its restaurants and voracious multinational, outrageous liberalism and unbridled individualism, respects the principle of Bretch Distanciation. It tells the story of Sun Tok, whose goodness is only matched by the generosity of her body. Visited by three curious characters, gods who were despairing of finding in this world a being of good will, the good soul, naive, and always ready to help her neighbor, lives from abuses to deceptions in this tricky world where money is the absolute master. Mistreated by her former boss and cheated by a carpenter without faith nor law, deceived by her beautiful lover, the Bogosse who dreamed to become a sommelier – he accepted to marry her only if her cousin came in person to offer him a well fat dowry -, threatened with expulsion by an unscrupulous owner, Sun Tok decided to create a fictional character, the one of her cousin, Nam Jae Su, to deliver her from these impostors and other thieves. Under the clothes of her cousin, she becomes a powerful businessman, taking revenge on those who duped her. Jae Su, revered by his peers, authoritarian and unjust for his employees – the reference to the french president political campaign is here very delectable-, is brought before the tribunal, composed of the same gods who had advised her to continue in the path of goodness, for theft of trade of her pregnant cousin, everyone claims for… until the truth is revealed to all.
This story questions our quest for Happiness: does goodness can make us happy in this world where human relationships are perverted by money? It questions the reality of our daily life where one conquers happiness through competition and unequal combat. The creation does not give us any answer: it exposes us facts, throughout a tasty and realistic tale told with humor and irony. We can choose our path. The one of the gods or Sun Tok’s one… She has to become Jae Su to preserve the goodness of her soul… This can only remind us the duality of our being: in our immoderate quest for happiness, between our private being and our social being, aren’t we led to act on the same model as the poor Sun Tok?
The project was born in 2007. Created by Lee Jaram, an internationally renowned Sorikkun singer, this show mixes with high accuracy Pansori 판소리*- popular and traditional Korean Opera with sung recitatives in which the singer 소리꾼is accompanied by a Gosu, a musician playing percussions called Buk – and contemporary instruments – one can notice the presence of an electric bass providing a powerful and aerial energy to the traditional music. The Pansori is a satirical genre alternating aniris 아니리, narration and changs, 창, songs, on a minimalist stage, almost naked, telling scenes of life with realism. The singer is wearing a curved, crop shirt and a dress which color matched to the jacket; a single fan as accessory used to let us imagine the decor or accompany the gesture of the singer. The latest has a very expressive face and embodies all the characters with great skill.
Here, the interpreter of this contemporary Pansori is Lee Seung Hee, 이승희, a young and gifted singer, used to traditional pansori techniques, whose voice got a round, deep and tint color. The young woman – who has an extraordinary beauty such as the famous Chinese movie star Gong Li – played in alternation with the great Lee Jaram and another interpreter, Kim So Jin. Her song, wistful and lyrical when she tells with a touch of humor the delicate woes of big Sun Tok – her interpretation of ‘bitter sweet’ is a mere delight – becomes more energetic and happy when she sang the role of the lover in which she excelled. Recitatives, entrusted with complicity to the audience, invite us to listen carefully to the story she reveals with generosity on the stage. Seconded by a talented musician encouraging her with heckling, the young woman, whose acting is all in nuance and the gesture accurate and very detailed, plays herself of the misadventures of the young Sun Tok, mocking the other characters, taunting the consumerist society and the useless gods.
Narrator and singer-actress, she keeps very simple, explaining us that the dancers have been left in Korea, telling us her malicious thoughts. Both clown and dancer, she brings us brilliantly into this both comic and tragic Pansori, which choreographic sketches are closed to Flamenco. The first part transports us to this distant Korea with its flavors of Kimbap, Bulgogi, kimchi and other spicy Korean food. In the second part of the show, her interpretation of the cousin is really outstanding: wearing a three pieces costume and a white hat, she becomes literally the businessman. The aesthetic of the costumes and the use of the fan, the fact she plays a man, remind us the Creative Society’s show: ‘He is my wife, he is my mother’. Moving and touching, the young singer expresses with enthusiasm her joy to be here, in front of the audience. A true moment of happiness shared with grace under subtle lights, accompanied by a trio of fabulous musicians. For the translation, the modern French is filled with subtle references to french history and offers us to discover a poetic and very well written text.
A show between East and West that deserves to tour again in America, Europe or Asia. DIANE VANDERMOLINA
* Pan is a space where people gather; Sori means sound or noise.
The songs of pensive beholding
By The Legend Lin Dance Company
Choreography: Ms Lin
Length: 2 hours
Touring:
Maison de la Culture d’Amiens 10 november 2011 / 20:30
Theatre National de Chaillot 17 et 18 november 2011 /20:30 – first coming at Chaillot !!!
Maison de la Danse Lyon 23, 24, 25 and 26 november 2011/ 20:30 except on wed 23 at 19:30
More on http://theatre-chaillot.fr/danse/legend-lin-dance-theatre/chants-de-la-destinee [2]
Retour aux sources…
In the cultural center of Kaohsiung, was presented on the 23-24th July 2011 the last part of Ms Lin creation dealing with humanity and earth. In this third part, she tries in a very symbolical and beautiful esthetic manner to make us aware of the degradation related to the damage we, as human beings, can cause to the Earth, our pairs and ourselves. The performance in which one does not feel any desolation or despair questions us on how we can find a balance in life, without destroying ourselves and the world like we are used to do actually…
The choreography is based on very measured movements – we can barely see the dancers moving towards us, in very precise and deliberately slow gestures, during the first part – contrasts with the contemporary musical flow – the music reminds us some Dead Can Dance ritual and tribal songs -. In the very beginning, one can see under a white lighting, many female characters with candles, they invite us to listen to a story, our story: the lost of our human concern for our selves, the others and nature in our modern society dedicated to material beholding… And we can see different scenes with suffering characters who shows us the (necessary) metamorphosis of humans (through the main character, the very white and half naked one wearing a big black hat, looking like a desperate animal captive of its abysmal instincts, the ones that lead us towards unhealthy and harmful choices of being). Between those scenes, there is a beautiful love scene between a warrior and the white woman, magic and powerful, especially in the very sensual movements of their arms as if they were tending to transcend their differences, as if love had reunited them into one being, under green-blue earthy like lights… But the following scenes present the death of both the white loving woman – lost in or killed by society- and the warrior- after a fight with another male character-, both carried in a long piece of white – for the woman- and red -for the man- tissues. Because of the society rules and human cruelty, real love cannot survive or ever last; even (hardly) find a place to exist and flower?
‘The songs of pensive beholding’ seem to tell us we have to born again to life, like butterflies, to enhance the future… Is it by a return to the spiritual ancient faith lying in tribal dances and music? The second part, using warmer lights, with an excellent live drum music session- fascinating performers, especially the one near the gong, describes a tribal fight; the rhythm of the music in opposition to the slow movements of the warriors, except the four ones dancing faster and faster to encourage the feline fighters, make us feel the ritual thrill but also the damage caused by some ancient rules, by using red lights color – omnipresent during the show, even by little stroke, like the red long nails of the white woman, the red color on the top of the war long weapons… The use of white -symbol of lost- and red – blood color- or ‘natural’ colors like the green and the blue – symbols of vitality and purity- is not genuine, on the contrary… For example, at the end, when the female dancers come back with their candles, meaning the end of the story, the whole color of the stage is green and blue, hope for a better future through love and spirituality, a path towards more humanity. The movements of the dancers reveal to be a little faster as if they had found the good balance at this moment. The way to get rid of this human suffering the very slow movements of the beginning makes us feel, as if our, humans, had at first a heavy weight on our shoulder to carry on and throw away by finding ourselves the balance between our animal and spiritual part, our soul and body, our and the others, to be completely human, be able to give and preserve our humanity and the Nature…
This high quality show – in the choreography, the dancing, the music, the lightings and the art design, with beautiful costumes made by Tim YIP, using very traditional colors, materials and forms in his manner-, has been applauded by the audience, a young audience who really enjoyed and appreciate the performance even if at the beginning, the slowness of the dance we are not used to can make us feel outlandish, seeming so peculiar and odd but so true… DVDM
On Saturday 16th of July 2011, Terry O’Neill presented a selection of his famous pictures during a special exhibition made in his honour. At the “Hôtel de l’image” in the delightful city of Saint Rémy de Provence, people can admire snapshots of some famous stars of the 60s such as Brigitte Bardot, Faye Dunaway, Isabella Rossellini and even more!
Just to remember you dear readers, Terry O’Neill is one of the most famous “star photographers” of his generation. This English artist started his career as a steward for the airline company British airways before becoming a photographer. One day, as he was taking pictures in the airport, he pictured the home secretary of England without knowing him and was offered a job on Fleet Street and then on the daily sketch in 1959. This music lover wanted to become a musical photographer but then turned out to be more interested in movie stars, or at least, in “stars”. And this is what he became: a respected star photographer.
Terry O’Neil had his particular technique of working: he spent at least one week with the star he wanted to take a picture of in order to “capture” his sensibility, his personality. Terry wanted to know his “subject”, to know the person before the star and as a result, we can feel the relationship between the star and the photographer as the picture shows a real intimacy behind the lens. But Terry didn’t choose the people he wanted to work with, HE was chosen. Actors, actresses, singers, everybody wanted his picture with Terry O’Neill: Isabella Rossellini, Brigitte Bardot, Faye Dunaway, Steve McQueen, Laurence Olivier, Paul Newman, the Beatles, David Bowie, Elton john, Elvis Presley (and I could keep going on but the list would be too long).
In black and white, the pictures are tragic and impressive but certainly peculiar. The only picture in colour is the one of Faye Dunaway (his ex-wife), the day after she won an Oscar for Network. For the “contemporary touch” the only portrait is Amy Whinehouse, nobody else because Terry O’Neill doesn’t work with current stars. He doesn’t see in them the same beauty and says “girls are not women anymore”. For him, everything is controlled; there are no more places for spontaneity.
But if Terry O’Neill is not a star photographer anymore, he is for sure a legend. And in such a beautiful place as the Hôtel de l’image, between a verdant garden and a charming gallery, people can look at the exhibition that remembers them a time not so far away, where stars were icons.
Clémence BORODINE
Held for the 16th year, Marseille Festival de Danse et des Arts Multiples is going to take over the city’s cultural venues from June 16th to July 9th, focusing on Africa and African-American history.
« I cheerfully thank the staff of the festival who offers new artistic visions every year and give the audience the occasion to see creative dance companies perform on stage », said enthusiastically Marseille’s Mayor Jean Claude Gaudin. Since 1996, Marseille Festival de Danse et des Arts Multiples aims at giving modern dance a better exposure, and creating a bond between artists and their audience. The Provence Alpes Côté d’Azur region and the city of Marseille are the two main funding bodies of the festival, which still struggles to attract patrons. « Since we don’t have our own venue, the operating cost literally took off. City council keeps funding us, but it’s still tough » confessed Artistic Director Appolline Quintrand. The main venue this season will be La Salle Vallier but shows are also scheduled in other cultural venues throughout the city.
This year line-up will host a multicultural crowd including artists from New-York, Haiti, Mali, South-Africa and Côte d’Ivoire all praising a « positive experience of diversity ». Thus, dance companies such as Merce Cunningham’s, break dancers from « La Smala », Akram Khan’s « Vertical Road » will be performing. Assistant Director Philippe Murcia insisted on « the festival’s hospitality and accessibility », revealing his intention to get the audience involved through interactions with artists, conferences, or invitations to dance. A 45 euros-pass covering 7 shows in 7 structures or festivals is offered intending to make the festival more affordable. With the eventful Marseille-Provence 2013 in sight, the festival is already preparing with an opera-slam project in perspective.
Amaury Ballet.
Translation: Florence Pelosato
Copyright ‘moi et mon cheveu’ Lionel Elian
More on http://www.festivaldemarseille.com/images/stories/pdf/calendrier_spectacle.pdf [3]
The age of reason
The last weekend of March – from the 24th to 26th from 11 AM to the end of the night- Babel celebrates seven years of existence: to enjoy the best of the event, a partnership with the Subway will enable the audience to stay up to 2 AM to benefit fully of the concerts offered by Latissimo for only 15 euro. This atypical festival inaugurates this year movies projections, in the Archives Gaston Deferre, a place close to the docks des suds.
Patrick Menucci, responsible for culture at the PACA Regional Council, welcomes the arrival of a half-dozen high schools, invited to discover this unique world music market. He regrets the non-financial participation of the City Hall of Marseille: Latissimo asked 10 000 euro on a global budget of 720 000 euro- almost half is funded by the region. ‘A symbolic request’, resumed Bernard Aubert. The PACA regional council is the main historical partner of the event and P. Menucci pays tribute to Michel Vauzelle for his engagement in the democratization of culture since 99. According to him, ‘ it is necessary that we rebalance the aid distributed to current music from scholarly music. Current music has a strong economic impact. The Gipsy Culture is part of the Provencal one and I am pleased that the festival opens the door to this culture, as a political sign. Babel Med Music should naturally be associated in the program of Marseille Provence 2013’ says Menucci.
Indian Ocean, Asia, Africa, Europe, Oceania… everyone has joined Babel med music for these three days devoted to the world music, a market now internationally recognized. This 7th Edition starts in fanfare with the venues of Watcha clan, Montse Cortes, Chico Trujillo, Sahra Halgan, Shantel… et questions us on the music, for a better understanding of our origins, through many thematic such as the so-called music identity, the cultural particularities, traditional influences and search for new sounds, the concentration of production, the cost of concert tickets, the support to atypical venues and festivals, the democratization of knowledge, new technologies, ecology, mobilization against the censorship of music and words, the international mobility of artists. These themes are certainly not only dedicated to music but they are asked here with acuity in comparison to the difficulties encountered by the artists in these economically – and politically – disturbed times where the downloading of music on the internet has become commonplace.
There will be 3 days, 3 nights, 30 concerts open to everybody, dozens of conferences, more than 150 booths and thousands of meetings to provide an unique occasion of discovering an original festival. With more than 2,500 professionals (programmers, producers, institutions, Medias, artists, broadcasters, etc) from the 5 continents, this market, with its conference rooms and debates and its agora, is an ideal place for professional meetings and exchanges too. This event is the perfect opportunity to meet artists originating from 21 countries and 5 continents… Among them, 5 awards has been given to 7 iconic artists of the music of the world: Babel Med Music Award: Lo Cor of the Plana (Occitania) & Wesli (Haiti); Price France music: Insingizi (Zimbabwe); Price Adami of the musics of the world: Oneira 6tet (Iran/Greece/Mediterranean); Price Mondomix: El Hijo de Cumbia (Argentina) and Price Labels South Phonopaca: Oslo Swan and Sashird Lao (PACA region).
Everybody could hear for the first time various artists such as: SHANTEL (Germany); FALLY IPUPA (Congo); BLUE KING BROWN (Australia); CHARBEL ROUHANA (Lebanon) ; CHICO TRUJILLO (Chile); MONTSE CORTES GUEST JUAN CARMONA (Spain): La nueva passionate flamenco ; JUJU (Justins Adams & Juldeh Camara) (UK/Gambia) ; WATCHA CLAN (France/region PACA) ; CHRISTINE SALEM (the meeting – France); MIQUEL GIL (Spain); CANZONIERE GRECANICO SALENTINO (Italy); OQUESTRADA (Portugal) ; ISTANBUL SAZENDELERI (Turkey) ; KAREYCE FOTSO (Cameroon); KABBALAH (France/region PACA) – in picture; FEDAYI PACHA (France); EROL JOSUE (Haiti); FANFARE of BELGISTAN (Belgium); NOREUM MACHI (South Korea); AZIZ SAHMAOUI & UNIVERSITY OF GNAWA (Morocco); THE SAMURAI (Fr/Be/It/Irl/end); SONGS SAKERS GYPSIES in PROVENCE (PACA region); SAHRA HALGAN (Somaliland); SASHIRD LAO (France / PACA region); THE Sun Africa rising (Comoros); PLACE KLEZMER (France); MAMA OHANDJA (Cameroon); DJ KAAN GOKMAN (Turkey) and CORASON in MEXICO (Mexico/region PACA). Have a look on www.dock-des-suds.org [4]
DVDM
We offer tickets for each evening of Babel, send us an email (com@rmtnewsinternational.com) to get free tickets!
Many French Journalists were invited in Marseille in November at the Press Club of Marseille Provence for tasting the Fourme d’Ambert, a special blue cheese often used in original and creative recipes.
Will you take a little piece of a very special blue cheese coming from the center of France?
This day, we could meet representatives of the organization dedicated to the Fourme d’Ambert and two young chiefs of the region PACA, Aurélie Hatchiguian and Delphine Jullien; one has a hotel restaurant based in Isle/Sorgue, nearby Marseille (www.domaine-de-la-petite-isle.com [5]); the other, a kitchen class in the center of Marseille (www.latelierdelacuisine.com [6]). This meeting was organized to make us discover a fine product from Auvergne, aging in old cellars of a land which was before the arrival of the devastating phylloxera a Mecca for its famous wines. Aurelien Vorges, from l’Union Interprofessionelle de la Fourme d’Ambert, was accompanied by William Lamy, chief marketing of Fromages Occitans, Benjamin Piccoli, representative of l’Association des Fromages d’Auvergne and Marc Chaumeix, board director of the agency Qui plus est, manager of their journey by the lands of Provence.
From Montpellier to Nice via Marseille, our happy mates wanted to bring the Auvergne to our plates in order to celebrate their new advertising campaign focusing on the values of this subtle veined cheese: friendliness, gentleness and diversity. We could savor the exquisite sweetness of macaroon stuffed with Fourme d’Ambert and the terrine concocted this delicious cheese. Pineapple and quince paste accompany this wonderful cheese, on toast or on a skewer … Hundreds of recipes are available on various culinary sites: it shows the variety of appetizers, antipasti, hot dishes that can inspire one of the leader of french cheeses.
Yet this little cheese is delicious with a glass of Coteaux du Layon, supreme nectar among french white wines…. DVDM
Note that a cookbook is available. More information http://www.fourme-ambert.com/ [7]
Thriller / 21 Juillet 2010/2h30min/ United States/ Warner Bros
By Christopher Nolan
With: Leonardo DiCaprio Cobb, Ellen Page Ariadne, Marion Cotillard Mal, Cillian Murphy Fischer , Joseph Gordon-Levitt Arthur, Michael Caine the professor, Ken Watanabe Saito, Tom HARDY Eames , Tom Berenger Browning , Dileep Rao Yusuf….
How can our subconscious influence our dreams and real life?
Inception tells us how one (Cobb) can introduce himself in the spirit of another (Fischer) and changes his mind by manipulating his dreams, creating fake dreams that seem so real… The concept of the inception is scientifically thrilling and fascinating, even plausible in a near future. But it’s a pity that the director choses to stage this subject abusing of too many FX effects. The movie appears between Matrix and James Bond ones, dealing with spy business but too many action scenes, excess of effects – even they are very well realized, in particular those representing the spatial paradox of the dreams- tend to kill the interest of the concept itself…. The movie in its too linear story telling sounds too American -the characters lack of some deeper psychology, even Cobb’s and Mal’s ones- and one can be deceived in spite of the convincing acting of the actors – to note Marion Cotillard beautiful English accent!
Inception: between dream and reality, where is the truth?
Certainly the amateurs of spy thrillers and action movie will not be disappointed but I admit that I expected an artistic management closer to Lynch’s movies, especially the scenes where there is a dream inside the dream inside the dream, changing the temporality of the spaces…. Anyway, the scenes between mature DiCaprio and old Wanabee remain the most interesting elements of the movie, opening the door at an alternate end, more enigmatic and less happy than the one of the plane… One can feel some mysterious questioning at the end of the movie: is that story only a dream, the reminiscences of a past that Cobb keeps deeply in his mind, the memories of his last mission? After this mission, did he really succeed in coming back home and getting rid of his old ghosts? Or because of a corrupted man, has he been manipulated and never got the money to come back, having to find and kill the guy that cheated him? Or is this part just a dream of a future to change the present will of Wanabee, make him pay for his successful mission? Who knows the real end? It is up to you to choose. DVDM
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
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