The one native staging of the style of 2020 was recorded in the course of the pandemic. The reggiseur speaks of state silence within the cultural space and criticizes the dearth of a “seek for excellence.”
El cimarrón, biography of the fugitive slave Esteban Montejo, recital for 4 musicians by the German composer Hans Werner Henze (1926-2012), is an inseparable a part of the creative historical past of Marcelo Lombardero.
The stage supervisor and baritone starred its Argentine premiere in 1997, on the Centro de Experimentación del Teatro Colón directed by Gerardo Gandini, then he resumed the principle position on the Teatro Actual in Madrid in 2004, beneath the supervision of the writer, and can now current a brand new manufacturing by streaming, subsequent Wednesday, December 9, which can turn out to be the one lyrical premiere of the 12 months.
The work, with e book by Hans Magnus Enzensberger on the novel by Miguel Barnet (who in flip collected the testimony of Esteban Montejo, who died at 112 years of age), places on stage the struggling of a Cuban slave within the late nineteenth century and his battle for liberation.
The challenge of a brand new manufacturing of The cimarrón, that Lombardero had been speaking for 3 years with Venezuelan baritone Iván García, protagonist of this model, filmed in October on the Xirgu Espacio UNTREF, and with a tough work of enhancing since then.
The efficiency might be carried out even in troublesome circumstances -and in a 12 months of null or scarce exercise of the native lyrical rooms- due to the assist of the UNTREF and thru Martin Bauer (Normal producer of this model and director of the Grasp’s in Experimental Opera of that establishment).
What’s it like to arrange, mount and movie an opera within the midst of a pandemic? That is how Lombardero relates it: “We began to rehearse with Iván by Zoom in Could, and in June we started to get collectively to stroll with the rating, to sit down in an open place to put in writing texts and talk about concepts. We summoned three very proficient and younger instrumentalists, Bruno Lo Bianco, Patricia García and Martín Marino. And in September, when the Metropolis’s rehearsal protocols had been accepted, we put our personal along with the Xirgu folks, we raise the entire room and work. A part of the musical preparation was assumed by me, however Agustín Tocalini helped. We work as if it had been a traditional operaWe did rehearsals and two exhibits that nobody noticed however us and the cameramen; From that time on, the ‘filming’ work started. Within the sound version we’ve Pablo Formica, the Audiovisual folks of the UNTREF did the syncro and from that the enhancing and post-editing work. We strive to not do a filmed theater present, as a result of a display isn’t a theater. We report two features to fifteen channels and eight cameras. It was to make an opera and in addition a film. The thought, with opera21.dwell is to proceed on this path, and proceed to dive into works that on this context are doable of their unique model. This work has an natural that adapts to those situations ”.
-In what means is a piece like this re-signified within the present circumstances?
–The theme of this work is racism, which is the issue of humanity however in our nation it’s evident. I do not consider within the phrase “crack”: I believe there may be racism. It’s deeply embedded inside us, and it’s a every day wrestle to exorcise that cultural evil. The phobia of the totally different denotes a deep ignorance. The work challenges us as a result of it talks about these points which might be sadly in drive: violence in the direction of the totally different, racism and slavery. Slavery isn’t a factor of the previous, and we do not have to go to a ship within the Indian Ocean the place youngsters work: simply go to Flores Sur. If we learn the tweets of the rugby gamers in current days, what are we speaking about?
-How might you summarize the significance of Henze for the music of the twentieth century and particularly for the opera?
-It is perhaps along with Benjamin Britten crucial composer of musical theater from the second half of the twentieth century; he composed about 30 operas, and a few are basic. Whereas it’s avant-garde was reviled by the vanguard, exactly as a result of it’s anchored in a critically romantic custom: Henze criticized the values of romanticism that led to political extremism within the twentieth century. This work is a sound story: the music is purposeful, it’s dramatic, it’s performative. It not solely accompanies the motion nevertheless it completely intervenes in it.
-What do you bear in mind about your alternate and collaboration with Henze?
-I had an epistolary relationship with him when the play premiered in Argentina. Later I visited him in Rome, after which in Madrid a pageant was held in his honor. He was a being of huge tradition and sensitivity, with a vital political dedication. Musically it was very exhaustive nevertheless it gave a number of freedom. Every little thing that’s performed in The cimarrón it’s written, however Henze leaves a freedom for using these supplies.
-The closure of the opera homes as a result of pandemic highlighted the dearth of safety for lyrical artists. How do you see the outlook and the longer term?
-The pandemic put pre-existing issues in white on black, however dwelling within the pandemic with out tradition, with out artwork and with out artists would have been unimaginable, and the contribution constructed from the human perspective is invaluable. The issue is that there’s a distinctive system of thought that has to do with neoliberalism, through which tradition is taken as a commodity. They converse of “cultural industries”, of “public-private synergy”, and in actuality there may be solely speak of withdrawing the state. The reconstruction of the cultural equipment wherever, and particularly in our nation, might be unimaginable with no sturdy presence of the State. And there I discover deafening silences. Aside from artists who belong to a state physique, people who find themselves like free-lance it is extremely unprotected and there may be discretion in relation to hiring, not just for singers but additionally for stage administrators. There are some which might be forbidden in official theaters. And there may be one other invisible group, the one most affected in recent times.
-What is that this group?
-That of the Argentine composers. How lengthy has it been since an Argentine opera premiered in official theaters? ¿What was the final fee of an official theater to a composer? In symphonic music, roughly the identical factor occurs. There are points that don’t have anything to do with the pandemic. I am frightened concerning the era hole that’s going to happen within the singers.