Pierrot Lunaire extends his tune with out gender prejudices | Culture | EUROtoday

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A number of days in the past we commented on the start of the anniversary of the delivery of Arnold Schoenberg (1874-1951) following a live performance at Auditorio 400 in Madrid that included the String trio op. Four. Five. In the identical week we obtain a second quote from the Viennese composer, his rather more fashionable tune cycle Pierrot Lunaire op. 21which has been offered by the Teatro de la Abadía in co-production with the Teatro Real.

We commented within the aforementioned evaluate in regards to the basic secular rejection that this nice musical creator has suffered, however all the things has its exception and that is none apart from this engaging and scorching cycle of semi-sung items in regards to the determine of Pierrot.

We might flood this glad exception with examples, however I'll persist with one which summarizes what now we have modified in a few many years. In the summer time of 2003, the Teatro Real hosted an unforgettable efficiency of Lunar Pierrot by Daniel Barenboim, with members of the Staatskapelle and with the voice of soprano Anat Efraty, all a part of a workshop led by stage director Peter Mussbach. They have been days, known as summer time festivals, To the larger glory of Barenboim, he promoted and financed the Community of Madrid, nonetheless ruled by Alberto Ruiz-Gallardón. It was clearly a waste, however a few of us have been in a position to get pleasure from some musical periods that also vibrate in our recollections, together with Schoenberg's piece. And, following this reminiscence, a bit e book falls into my arms, Pierrot Lunar, which accommodates the unique poems of Albert Giraud translated into Spanish by Luis Alberto de Cuenca, together with as an appendix the German model by Otto Erich Hartleben that Schoenberg used. In the temporary introduction to this publication, De Cuenca says: “My friend Alberto Ruiz-Gallardón is an enthusiast of the famous atonal work [sic] Lunar Pierrot […]. I remember attending at Puerta del Sol, when he was president of the Community of Madrid, a performance of that work that stayed to live in my memory […]. On that occasion, Alberto encouraged me to translate the libretto into Spanish, so that it could be sung in the language of Cervantes.” That nonsense was not consummated, however the nice musical work got here to the Real in an anthological model that’s positioned as a reference for this one which the Teatro Real itself sponsors with a manufacturing that comes from the Gran Teatre del Liceu in Barcelona and has simply been heard within the XV Badajoz Current Music Series.

The countertenor Xavier Sabata, creator and protagonist of the show 'Pierrot Lunaire', by Arnold Schönberg, at the Abbey Theatre.
The countertenor Xavier Sabata, creator and protagonist of the present 'Pierrot Lunaire', by Arnold Schönberg, on the Teatro de la Abadía.from Real pictures

It is a manufacturing that bears the signature and seal of the countertenor Xavier Sabata, singer and stage supervisor of the expertise.

It is well-known that Lunar Pierrot admits varied levels of abstraction, ranging from its vocal conception, the well-known recited tune, chanting, transformed right into a advantage from the necessity to adapt the singing line to the calls for and traits of the lead actress of the work, Albertine Zehme. The play, premiered in 1912, arrived in time to affect Alban Berg to make the principle character of his Wozzeck in assist of the identical kind of recited tune. Schoenberg himself was topped in his Moses and Aaron with one other formidable character, Moses himself, on this advanced assist of the Sprenchgesang.

But Lunar Pierrot It has many extra parts of abstraction, corresponding to Giraud's ineffable poems in Hartleben's model, in addition to a relentless tour of quick items, as much as 21, that increase the expressive rigidity with out hardly enunciating any argument apart from the poetic violence of this summit of expressionist decadentism to which Schoenberg added simply the best spice of a Berlin cabaret aroma.

It is feasible that this summary cost prefigures the potential for embedding expressive topics of varied varieties. This is how the proposal of Xavier Sabata appears to be born, an artistically stressed countertenor, who, along with singing his model of the piece with ease, embarks on a staging that may have each the aroma of a cabaret and a scene from a science fiction film. . But Sabata's proposal, at the least in Madrid, is expanded to incorporate a prologue that narrates the drama of Narcissus, through Ovid, which desires to operate as a counter-model to the psychological dysfunction of Giraud's Pierrot. It is an concept that has each a discovery and an incidence and that fulfills the function of creating the session final an hour. I, at the least, didn't prefer it.

Xavier Sabata, creator and protagonist of the show, surrounded by Jordi French -musical director of 'Pierrot Lunaire'-, four soloists from the Titular Orchestra of the Royal Theater -Pilar Constancio (flute and piccolo), Ildefonso Moreno (clarinet and bass clarinet), Sonia Klikiewicz (violin and viola), Natalia Margulis (cello)- and Karina Azizova (piano).
Xavier Sabata, creator and protagonist of the present, surrounded by Jordi Francés -musical director of 'Pierrot Lunaire'-, 4 soloists from the Teatro Real Main Orchestra -Pilar Constancio (flute and piccolo), Ildefonso Moreno (clarinet and bass clarinet), Sonia Klikiewicz (violin and viola), Natalia Margulis (cello) – and Karina Azizova (piano).from Real pictures

Aside from what’s seen on stage, Lunar Pierrot It is a masterful rating, 5 performers with extremely specialised music, with three of them doubling their instrument, flute and piccolo, clarinet and bass clarinet, violin and viola, and the necessity for a top-level live performance pianist; Let us bear in mind the aforementioned presence of Barenboim in that function. And that half has been coated with greater than sufficient brilliance by a quintet that performs these items as if they’ve been doing all of it their lives. And the arranger who brings collectively this group with a clever hand is Jordi Francés, a younger director, already related to the Teatro Real, who by no means stops incomes cash with every presence. His model has been clear and magnificently put collectively, if something I’d ask for a bit extra verve within the occasions to speak in regards to the reference model, however listening to it’s a pleasure. In addition to the Spanish model of this piece that Gallardón foolishly requested, we’re glad for a wonderful model in Spanish arms when these of us who’ve grey hair have suffered ready for Schoenberg's music, even this piece of most reputation in its manufacturing, to be normalized in our borders.


Pierrot Lunar. Music by Arnold Schoenberg. Texts by Albert Giraud and Ovid. Stage course, Xavier Sabata. Musical course, Jordi French. Pillar Constance, flutes; Ildefonso Moreno, clarinets; Sonia Klikiewicz, violin and viola; Natalia Margulis, cello; Karina Azizova, piano. Production: Abbey Theater and Theater Royal. 22 to 25 February. Theater of to Abbey, Madrid.

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