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Bob Wilson and the terror at the end of ‘Turandot’

Giacomo Puccini died in 1924 without completing the score of Turandot. He came down with a fear that is palpable with respect to the gender to which he had dedicated his entire life. He wondered if it was worth continuing... I Suspected that opera, as an art form, was finished. These days, in Madrid, Robert Wilson, knows not as close in the scene. Why the end of the enigmatic princess china produces so much fear in those that appeal to their powers?

you know who from 30 November to close to the Theatre Royal to check it out. On 18 alternate functions-for an entire month represents the last opera of the composer toscano directed by Wilson, with Nicola Luisotti at the front of the orchestra and the Swedish Irene Theorin or the american Gregory Kunde in the lead roles.

it is Precisely the musical director, contributed this Tuesday track: “Turandot serves to Puccini to ask for forgiveness,” he said. He felt responsible for the suicide of Doria Manfredi, a maid who worked for him in his house. It happened 15 years before being tapped to compose his last opera. According Luisotti, his wife had accused of trying to seduce him and she was poisoned. The trauma was so nailed into the musician that decided to make a libretto conceived as a light comedy –written by Carlo Gozzi to 1762 - a tragedy. “It was his way to atone for his guilt”, says the musician.

In memory of Montserrat Caballé

Joan Matabosch and Ignacio García-Belenguer, the two directors of the Theatre Royal in charge of introducing the presentation of Turandot, made sure that all of the representations of this opera will be performed in memory of Montserrat Caballé. It is something that motivates you especially to Bob Wilson. Not only knew and worked with her, idolized: “That woman changed my life. Taught Me many things. First, his sense of humor. When we met for the first time said to me: “Are you sure that you want to work with me? Are you aware of the size you use? Despite all of that, when I listened to relaxing at home sipping a whiskey or smoking, it always surprised me that the fund was believed to feel the presence of a girl. And effectively. When we met, explained it to me. Despite the fact that the music director forced her to Jestbahis force the notes, sang very soft, pianísimo. And he said: I can bring the eighty percent of the score, the rest should put the viewer”.

The story stunned Wilson, present at the press conference. Maybe that's why he shared his doubts and his fears. “That's why I had never take it to the scene. Because I don't know how to finish. And still I doubt. Depends in a large part of it,” he said. He said looking at Irene Theorin, in charge of giving life to the chinese princess. The soprano was alluded to: “what Goes for me?”. Everything pointed to that both were still, in these days of trial, in a full search of the solution. Turandot is suicidal. Well. But, how do you show that on stage?

The doubt, as a system is something that fits perfectly in the work of Wilson: “My role is purely formal. Puccini created a strange fairy tale, a story that does not belong to this world with three characters who try to assert their power. This is the theme that underlies the whole work. My job is to take the viewer to a conclusion that is open. My obligation is not to tell you what they see, but cause them to wonder what they are seeing,” he says.

The mystery wraps up the entire history of this title. The approach to the, as we see, complex outcome. When the mandarin opens the trap, tap to be cautious. Who aspire to marry Turandot must solve three riddles. If they fail, they will cut your head off. The own Puccini fell in the road. He found it impossible –and sad - unwrapping their vision of the melody in full maelstrom of atonal at the beginning of the TWENTIETH century and the School of Vienna swallowed the tradition. The score was completed by Franco Alfano. Decades later, Luciano Berio wrote another alternate ending in 2002 for the Salzburg Festival. “With this opera, Puccini leaves the verismo and delves into the symbolism,” says Luisotti. “So, in addition, it ushers in a genre of dark”.

to make it clear to the viewers up to where he had come to Puccini, when the maestro Arturo Toscanini premiered the score at the Scala in Milan in January, 1926, warned the public: “Here, the teacher, left the pen...”. It will not happen in the Real. Behind, at the scene, Wilson will have developed its fifth staging in Madrid after O Corvo Branco, (with Philip Glass), Osud (Janacek), Pelleas et Melisande (Debussy) and " The life and Death of Marina Abramovic (Anthony Hegarty). Still wrapped in the haze settled to base of light and movement with the rhythm of its own that characterizes his work: “sometimes the unreal is more accurate. I don't like the natural because I find it outside the theater. To observe an actor to appear natural in the scene is the most artificial in the world. Because nothing looks like what you see on the street. Neither the light, nor the soil, nor the situations... I Try to fit into each show has its own dynamic. It is the most honest. For this, you need hundreds of trials and repetitions to achieve internalize the movements. The more mechanical you can make work, the more free you will feel”

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