LUIGI CHERUBINI –
MÉDÉE – LA MONNAIE BRUXELLES – 2011
This version of the opera sung in
French is absolutely amazing and astounding. The libretto was adapted for this
stage production and the recitatives have been reduced and replaced by some
modern language unsung passages, dialogues most of the time. That probably
shortens the opera but it gives to it a tremendous power in its condensed form.
The arias and duets are kept of course with the music of course and they
explode in quality and force due to the shortened and demusicalized
recitatives.
Along with this modernization of
the opera to present-day taste the stage production is of course in modern
costumes and uses modern visual techniques to build a background referential
décor to what is happening on the stage. Opening sections and other overtures
are using vast video projections on a screen and such video moments are used
now and then to widen the stage with elements that are either magnified or
contextual. The most striking element here is the use of the two children, the
two sons. First they are older than they should be because they play an active
role in the opera: they even once speak. They are more young teenagers than
children.
They open the opera during the
overture with a screen projecting videos of Jason’s wedding with Medea. They
are showing their boredom by more or less falling asleep on the stage. During
the first act and the preparations of Jason’s new wedding with the local
princess, Creon’s daughter Dircé, the two kids are writing graffiti on the back
wall of the stage behind a glass separation. I will not reproduce what they
wrote. It is in both English and French and it is gross accusations against
Dircé.
All along they are present and
active. In the last act they are preparing for their last night with their
mother. They are in their underwear before putting on their pajamas. They are
extremely active with their mother in a scene that is ambiguous in many ways:
Medea is wavering ,between killing or not killing. She finally lets the
children go only to run after them later with nthe fatal blade. It is also
ambiguous sexually. We can wonder if Medea is not transferring her love for
Jason specifically associated to his “sperm” onto the fruits of this “sperm”
hence the children who are more than half nude and embracing Medea in the most
intimate way. The first distance at this level is provided by the covering of
this nudity with pajamas.
In this version Creon is reduced
to very little singing in spite of a heavy presence on the stage and on the
screen. Jason is quite present but is also densified since we only have his
arias and not his long recitatives that explained many things that are today
beyond any explanation since we know the details. He appears as a real fool as
well as a lustful ambition-motivated social climber of some sort. He is trying
to recapture his noble position in Greece by marrying a Greek
princess, by rejecting his Colchian wife but at the same time trying to keep
and recuperate his mixed blood children. He impersonates a very negative
character and we are deprived of any sympathy for him, let alone empathy. He is
repulsive.
On the other hand Medea is the
very embodiment and impersonation of suffering due to an unjust brutality that
is imposed onto her by the Greeks who are obviously xenophobic if not plain
racist since Medea being from Colchis is from the Old European stock of Turkic
language, culture and origin, whereas the Greeks are the new comers of Indo-European
origin, culture and language. Though the libretto insists on Medea’s betrayed
love for Jason as her main motivation, this production with the active role the
children play emphasizes her motherly dimension which really makes the final
decision a lot more difficult since she has to hurt her children in order to
hurt her husband. Her vengeance becomes a vendetta and this is the alienation
if not negation of her motherly side?
This production thus tremendously
magnifies the deeper meaning of the tragedy the way we can see it with modern
eyes. She then can leave the scene, though without any chariot and supernatural
horses or dragons. She just steps to the foreground of the stage while the
metal security screen comes down and she will exit through the small door on
the right that opens onto the back stage for her.
But this music and this poetry
(in the arias) is still what they always were and that is definitely the best
part of this opera. French is not a tonal language but a syllabic language, meaning
there are no stressed syllables, only a certain number of such syllables. The
music plays on that dimension of the language by building many arias on half
alexandrine lines, hence on units of six feet. But Cherubini then works on the
possible variants of this six foot unit that has to ,be cut in two and it
becomes most powerful when it is divided in blocks of three syllables. The
music can easily emphasize this rhythm and it becomes some kind of hammering
and pounding for highly dramatic scenes though it could also be very fluid for
more romantic scenes, but there are very few romantic moments in this opera.
Take those instances at the end
of the second act:
« Aux larmes – d’une mère
« O triste – souvenir ! »
Or again :
« Vainement – de mon cœur
« Je veux vous – effacer ! »
But Cherubini is able to vary
this 3-3 rhythm with a 4-2 rhythm that sounds cold, distant, cruel like in
Medea’s last pronunciamento, 4-2 / 3-3:
« Et sur les bords – du Styx
« mon ombre – va t’attendre ! »
And Cherubini can even do further
and express Medea’s condescending hatred with a 2-2-2 rhythm like in:
« Par des – chemins – connus
« Pour moi – toujours – secrets.
»
And the last cry from Jason is
this time purely inhuman by using a 2-4 rhythm that could maybe be captured as
2-2-2:
« Mes fils – rends-moi mes fils ! »
The last note I will give here is
the fact that the main singers are not French natives and the director and
probably the conductor chose to have them sing with some accent making them
sound unreal like foreigners in that land of hatred. This use of a slight
accent now and then is of course remarkable because we feel as if we were in
some other land, some other country, some supernatural empire of unethical
power-hungry monsters. That gives to Medea a human dimension that is rarely
captured the way it should be.
Dr Jacques COULARDEAU
STEPEHN KING – GLENN CHADBOURNE –
THE DARK MAN – 2013
This
is a small 41 line poem written by Stephen King when he was a college student,
in other words a college poem for publication in the local college student
daily or weekly. As such it is not worth much though on the cover only one name
is printed.
Thanks
god this average example of college creative writing is amplified tremendously
by the graphic work of the artist whose name is not mentioned on the cover.
Glenn Chadbourne he is called. These illustrations are in black and white and
in ink. They are ghostly fuzzy and perfectly fascinating in their uncertain
strokes and shapes. It all works on what is not clear, what is not
identifiable, what is not visible.
The
other theme is the misery of buildings, infrastructure and people who are
living on the side, under the margin or the social rug, in the ditches along
the road or crossing some waste land where they can each bugs and survive.
That’s the world of Randall Flagg, the Dark Man who can turn into a crow and
vanish in thin air when the fire comes too close.
That
small book would be a good present for some young child or teenager who likes
things from beyond the normal looks they have in everyday life. What is behind
the curtain of reality? Spiders, mutants, misery with or without a diabolical
nurse?
Dr
Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 4:03 AM