Tushicage Le Grand Macabre libretto Ligeti and his production team met to reconsider. The politicians go out on the balcony to try to calm the people with speeches, one after the other, but Go-go laughs at them as they are pelted by shoestomatoesand other objects. Should he however merely have been a conceited charlatan and a dark and false messiah and his mission merely empty words, life will continue as normal — pe day everyone will die, but not today, not immediately. Only his mother survived. He noted some ideas and several dispositions of the orchestra but, as far as we know, never made a libretto nor composed a note. Scene Two In the house of the court astrologer Astradamors The sadistic Mescalina has her husband Astradamors under her thumb.
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Introduction You might think it more than coincidence that a Jew, born in Transylvania yes, there really is a Transylvania and a Holocaust survivor, would find his way into the theatre of the absurd and more to the present point, a stage work of the Grand Macabre. Remember that trippy visual sequence in A Space Odyssey. Alas, if you are expecting music in a similar vein here, you will find it only rarely in Le Grand Macabre, a far more complex work, tonally and texturally.
In the opera, Death Nekrotzar arrives in the fictional city of Breughell and announces that the end of the world will occur at midnight. Panic, fear, and our unique form of insanity ensue. Le Grand Macabre was premiered in Stockholm in April of and has since received more than thirty productions - most unusual for an operatic work of the last several decades. In preparation for a production at the Salzburg Festival Ligeti made substantial revisions to the opera in , tightening the structure by means of cuts in scenes 2 and 4, setting some of the originally spoken passages to music and removing others altogether.
Production What a peculiar and extraordinary work is this, and not one easily described. The production is a relentlessly inventive essay in excess in all its forms. At one time it is a skeleton; at another, a cocktail bar. The costumes are outrageous, color coded for each character.
Two characters are fully encased in BodyWorks latex muscle suits; two others wear nude body suits — one appetizing, the other, who chases after her husband with a stringless tennis racquet, decadent and revolting. Actors clamber across and into the model. Venus descends from the space above the stage and takes her leave into the galaxy beyond. Lighting is dramatic, often isolating this or that piece of action on the stage. So bizarre and grotesque are the sets and costumes that it takes some while to get used to the fact that there is singing going on here, not least by an invisible choir.
Without a doubt, the singers here have to be good actors as well, and be willing to be exposed and humiliated. Each character has their own style: Some like the lover twins, Armando and Amanda, are rather lyrical, others, much less so. Just about every character is highly sexualized, including the huge model in the center of the stage.
Sex acts are commonplace, though it took a little while for me to be certain that no one is actually nude. The singing is, in all cases, suitable. What and how they are singing, however, is purely a matter of taste. It may take more than a few minutes to get used to it. Do not stifle sudden urges to giggle.
There is some pretty funny material here. Conductor Michael Boder leads the Orchestra of the Gran Teatre del Liceu in a suitable temper, never dropping the pulse or level of excitement for a moment. They waste another 1. Clearly, the mastering engineers take full advantage of the AVC codec that permits dropping the bit rate when the image changes little and especially when there are large areas of black. So what, you may well ask? The image is sharp, colors are brilliant, noise is kept at bay, transfer artifacts are vanishingly low.
Most viewers would be satisfied. If you were to come fresh from any number of Opus Arte Blu-ray operas, regardless of style, you would see the difference at once. Opus Arte images are denser have more color contrast and texture. Texture, too, is glossed over.
There is little variation in skin tone or fabrics. There is a vague deadness to the image, not intended by La Fura dels Baus. Audio By contrast, the audio for Le Grand Macabre is demonstration quality.
Arthaus provides the usual dual uncompressed options. The surround is good, but the stereo is significantly better: it has more focus, better dynamic scale and more weight.
In short, there is more there, there — more reach out and touch it sound. Voices never screech, despite the vocal pyrotechnics often demanded by the composer. The orchestra, especially the percussion, is vivid, striking and true.
Only the deepest bass is given short shrift — and, that only a little. Bonus In addition to the two extra features on the disc, Arthaus Musik supplies a booklet with a detailed breakdown of its 40 chapters and an informative three-page essay by Dr. Mike Searby Kingston University, London. On the disc we find an outstanding making-of piece - Fear to Death - that focuses primarily on the production in every detail, which is an opera in itself in Spanish with English subtitles. In the only other bonus feature, conductor Michael Boder in German with Engllish subtitles takes us on a six-minute tour of the music of Le Grand Macabre and its relevance to our everyday world, musical and otherwise.
Both of these features are worth your time and will help makes some sense out of the contrived nonsense that we see and hear. I recommend watching both of these and a read of Dr. By the way, though the opera is sung in English, you will almost certainly still need to engage the subtitles. Everything about this release, save only my reservations about the image quality, is inventive, fascinating, often very funny, and of highest quality.
That dilemma is part of the point, no doubt. Recommended, especially if you like circuses. Leonard Norwitz.
Vilabar The Finale features all tonal chords arranged in an unpredictable order. A siren wails and a bass trumpet announces danger. He presents himself as being as painful and terrifying as cancer, but in the end is just a damp squib, like a bout of flatulence. Drafted into a Jewish labour battalion inhis involvement in the war was mercifully short-lived, although often hazardous and surreal. The politicians try to play it off as alarmismbut promptly flee the stage when a solitary figure approaches from the direction of the city gate. KG Weihergarten 5 Mainz info schott-music. Nekrotzar, prince of Hellhears the lovers from deep inside his tomb and subtly joins their duet.
63: Dream Palace
Introduction You might think it more than coincidence that a Jew, born in Transylvania yes, there really is a Transylvania and a Holocaust survivor, would find his way into the theatre of the absurd and more to the present point, a stage work of the Grand Macabre. Remember that trippy visual sequence in A Space Odyssey. Alas, if you are expecting music in a similar vein here, you will find it only rarely in Le Grand Macabre, a far more complex work, tonally and texturally. In the opera, Death Nekrotzar arrives in the fictional city of Breughell and announces that the end of the world will occur at midnight. Panic, fear, and our unique form of insanity ensue. Le Grand Macabre was premiered in Stockholm in April of and has since received more than thirty productions - most unusual for an operatic work of the last several decades.
LE GRAND MACABRE LIBRETTO PDF
Act 1[ edit ] Scene 1 This opens with a choir of 12 jarring car horns , played with pitches and rhythms specified in the score. These suggest, very abstractly, a barren modern landscape and a traffic jam of sorts. As the overture ends, Piet the Pot, "by trade wine taster," in the country of Breughelland named after the artist that loosely inspired it , appears to deliver a drunken lament, complete with hiccups. He is accompanied by bassoons , which become the representative instrument for his character.