Skip to main content

Mavra/Pierrot Lunaire, Linbury Cinema feedback – operatic madness tempered with plenty of means

By 2022년 10월 18일No Comments

Mavra/Pierrot Lunaire, Linbury Cinema feedback – operatic madness tempered with plenty of means

An accident away from tunes planets creates an interesting twice-bill

An excellent blink-and-you’ll-miss-they residential farce and you will a temperature-dream dream regarding a tune-cycle: Stravinsky’s Mavra (1922) and Schoenberg’s Pierrot Lunaire (1912) produce an urgent twice-statement. But, in the event your a couple of remain somewhat awkwardly next to one another, they are both up against in the same assistance – per searching back again to the new music early in the day.

Mavra/Pierrot Lunaire, Linbury Cinema feedback – operatic madness tempered with plenty of means

Passacaglias and you can fugues, love-duets and you will ensembles, waltzes and folksongs: these represent the fragments achieved right up of the a couple composers reduced curious during the ripping on the musical place at the start of the 20 th 100 years than just re-purposing it, flexing and you may skewing the new bits to match brand new stress and anxiety away from a good modern age.

Stress, tipping for the distress, paranoia and you may outright madness, is the identifying temper off Anthony Almeida’s the brand new staging, devised within the Royal Opera’s 20 th wedding festivals for the businesses Jette Parker More youthful Artist plan. Creator Rosanna Vize takes the brand new “miracle white flowers” off Pierrot’s sight and you can blows them right up on a large floral pattern: an oversized chintz one to kits the brand new tone for the unique, circus-domesticity out of Mavra in which tea-tables come packed with jelly (and absolutely nothing more), pastels and you can prim silhouettes explode to the outrageous wigs and you will red-colored eyebrows, and crinolines hide holsters out of squirty cream.

The storyline (centered on Pushkin’s The small Domestic when you look at the Kolomna) is not difficult sufficient: Parasha misses her sweetheart Vasily, as soon as the woman mom laments the increased loss of new family’s faithful retainer Fyokla, she conspires to create her mate to your household regarding guise of “Mavra” a unique maid. Cue most of the antique comical-opera shenanigans.

This new slightness off Mavra (and this persists hardly a half hour) provides a manager absolutely nothing elbow-room, and you can Almeida helps make the fascinating telephone call to bleed one drama into the several other, uniting the two disparate halves during the a provided community in which an oversized hanging lamp becomes new moon you to guides Pierrot’s madness. Pierrot themselves strays on the Parasha’s teas-cluster, and soon after Parasha and her family unit members reappear when you look at the Pierrot’s own hopes and dreams.

Meaning remains oblique, however, tethering Mavra to help you some thing big gives greeting heft so you’re able to its arc satire. Something primal are stirring during the Almeida’s dolls home, noticed not only in the fresh slithering clarinets and you can away from-kilter dances out of Stravinsky’s score (crisply delivered because of the Britten Sinfonia less than Michael Papadopoulos) but in letters just who plunge their hands Western Pie-design towards the soup bowls of jelly, smear by themselves from inside the lotion and undress on their undies.

Jette Parker singer April Koyejo-Audiger provides many bright-eyed naughtiness to Parasha, the lady soprano lump amply courtesy Stravinsky’s ensembles, however, often spilling away from firmly mathematical outlines dependent of the Papadopoulos, smudging pitch. She generally seems to belong to a special opera to help you Egor Zhuravskii’s clean Vasily (envisioned proper) – darkly Russian build meeting bel canto control and you will sweetness. Sarah Pring stands out while the Parasha’s set-on mother (barely dangling so you’re able to sanity here) having Idunnu Munch adding certain zesty frustration because the Neighbor. It is all an effective fun and you may will not overstay their welcome. But it’s the next half in which this reveal extremely gets in its very own. Soprano Alexandra Lowe (envisioned a lot more than) try Schoenberg’s moonlight-strike Pierrot – holding the girl listeners compliment of all the shift out-of spirits and you will reputation: now an excellent Madonna mourning when you look at the a kinky Pieta, now an excellent murderous revenger drilling compliment of his rival’s skull to cig it such as for instance a tube.

Stilling the newest layouts adopting the clutter and you will in pretty bad shape away from Mavra, Almeida allows the action proceed to Lowe’s face and body, tellingly lighted by Lucy Cartermitting definitely to each reinvention, out of cabaret-performer to running animal, ballroom performer and you will androgynous companion, Lowe provides madness that is never reduced you to appropriate, underpinned reduced because of the whimsy we often look for than simply a much slower-bubbling rage and you can resentment. Brand new command over Lowe’s sprechstimme, plucking pitches on air, morphing the lady tone so you can reflect or battle the newest orchestra’s flute otherwise clarinet, was natural: a very carefully calibrated settlement anywhere between address and you will tune. Madness should be anarchic, but it is much more persuasive when we have the fundamental order and you may logic even as we manage right here.


Author 장성자

More posts by 장성자