Krzysztof Penderecki: Die Teufel von Loudun (1969) Atto I
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- Опубликовано: 19 сен 2024
- Krzysztof Penderecki (*1933): Die Teufel von Loudun, Opera in 3 Atti su libretto dell'Autore tratto da "The Devils of Loudun" di Aldous Huxley nella drammatizzazione di di John Whiting e tradotto in tedesco da Erich Fried (1969).
Registrazione della prima mondiale tenutasi all'Hamburgische Staatsoper il 20/6/1969.
ATTO I°
1. "Ich will einen Weg finden (Chor, Jeanne, Grandier, Claire)
2. "Wollen wir zusammen gehen?" (Mannoury, Adam)
3. "Sag Mir, warum kommst du zur mir?" (Ninon, Grandier)
4. Dieser Menschenkopf erfüllt mich mit Erwatung" (Mannoury, Adam, Grandier, Jeanne, Claire, Chor, Philippe)
5. "Ich bin hier als Sonderkommissär" (De Laubardemont, D'Armagnac, Grandier, Adam, Mannoury)
6. "Wir sind alle froh, Vater Mignon" (Jeanne, Mignon)
7. "Ich konnte aus der Priorin weiter nichts herausbringen" (Mignon, Mannoury, Adam, De Laubardemont)
8. "Bitte, lieber Gott" (Jeanne, Barré)
Jeanne (Priora del convento delle Orsoline): Tatiana Trojanos
Claire (suora Orsolina): Cvetka Ahlin
Louise (suora Orsolina): Ursula Boese
Gabrielle (suora Orsolina): Helga Thieme
Philippe Trincant (una giovane ragazza): Ingeborg Krüger
Ninon (una giovane vedova): Elisabeth Steiner
Urbain Grandier (Curato di St.Pierre): Andrzej Hiolsky
Vater Barré (Vicario di Chinon): Bernard Ladysz
Vater Rangier: Hans Sotin
Vater Mignon (Padre confessore delle Orsoline): Horst Wilhelm
Vater Ambrose (un vecchio Prete): Ernst Wiemann
Jean d'Armagnac (Sindaco di Loudun): Joachim Hess
Guilleaume de Cerisay (Giudice di Loudun): Rolf Mamero
Adam (Chimico): Kurt Marschner
Mannoury (Chirurgo): Heinz Blankebourg
Baron de Laubardemont (Commissario del Re): Helmut Melchert
Principe Henri de Condé (Ambasciatore del Re): William Workman
Bontemps (Carceriere): Karl Schultz
Commesso di Corte: Franz-Rudolf Eckhardt
Asmodeus: Arnold van Mill
Coro e Orchestra dell'Opera di Stato di Amburgo
(Direttore del Coro: Günther Schmidt- Bohländer)
Direttore: Marek Janowski.
****
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you have no idea how Penderecki influenced modern film music. It's massive
agreed. Only polish artists can make me feel true Awe.
Zdzislaw Beksinski (painter), Krzysztof Penderecki (composer) and Ryszard Bugajski (director) and Andrei Tarkovski (well, he is Soviet, but fuck it , I'll say he is Polish !)
An intensely absorbing work of musical genius...R.I.P Tatiana Trojanos.
Such a haunting and brilliant masterpiece!
In my case, you are right. I had never heard of Penderecki until my youtube wanderings brought me to these uploads a few weeks ago... I found his work fascinating, but I hadn't considered his influence on modern film music until I read your comment... I will be considering it now.
Zappa named "The Devils Of Loudon" by Penderecki one of his 10 favorite records in Faves, Raves And Composers In Their Graves. In Classical Zappa he also cites it as his favourite opera, because he "liked the enema scene." He added some more details about his appreciation during a 1975 radio interview:
"This Catholic Polish gentleman which writes very interesting music doing this opera with religious and demonic overtones (...) The thing that knocks me out: I've got this Philips recording with Tatjana Troyanos singing the lead vocal in this enema sequence where's to exercise Asmodeus who is supposed to be lurking inside her bowel, according to the text by Aldous Huxley. They have to take her behind the screen on stage and pump her up in sort of philosophical sense with some, unseen by the audience, herbal burbling enema. And the music he has going on for that scene is very ingenious, you know. You hear the bubbles and she is singing interesting little screams and grunts and stuff. I'd say: "That's a step forward." There's not too many things in rock 'n' roll that can compare to that. I put it right up alongside of "Voulez-Vous Couchez Avec Moi", one of those funk tunes."
R.I.P Maestro
Maravillosa obra de arte musical
Penderecki. I'm yet to hear anything of his that i don't absolutely love.
Along with guitar shredding and horror movies?
So visceral! And the bass guitar is utilised very aptly
One of the most peculiar elements of this work is the bizarre critical reception, perhaps not quite as comparable to that of such a work as _The Rite of Spring,_ but still easily as eyebrow-raising. So many conflicting opinions. Some said that the work was too overbearing and disturbing, others said that it was incredibly underwhelming, with Penderecki trying to fill the air with an "ear-grating" white noise of sobs, screams, and laughter. The legendary critic of serialist and expressionist music, Hans H. Stuckenschmidt, gave a pretty shoddy review of the work, generally complaining about Penderecki's style as a composer rather than any specific grievance with the opera. In general, we can pair both opinions in the element that all audiences were VERY disturbed by what they had just seen.
There is even one newspaper from New Mexico that showed the soprano that sang Sister Jeanne in the local opera house's production _having a perfectly normal day with her family,_ perhaps to alleviate the audience's post-trauma from seeing this woman on stage (Oh, good Heavens, no!) contorting and wildly spitting on stage only a few nights previously, and needed some reassurance that she was indeed perfectly normal.
People were very absorbed yet taken aback with this work, and it has only recently gained the due appreciation it deserves from young artists.
Splendido
thanks for posting. Very rare
Awesome!
This is a beautiful and impressive opera...Someone knows if I can find video of it?
I have the Libretto in the LPs... is very similar of the AH book.
This is a beautiful and impressive opera...Someone knows if I can find video of it?
lol. this is badassed music and the image too
L'ho vista 2 recite al Teatro Costanzi anni fa'...CHE PALLE!!!...tanto bel Donizetti e Bellini...
Sounds great! But do you know where I can find the libretto? Thanks!
I don't suppose anyone knows where I can find the libretto?
I think its the same as the script for the play but don't qoute me on that. There is a version on youtube with subtitles though!
you sure know how to express your feelings :P
Avete per caso anche l'"Ubu rex"?
Je ne dois pas être assez mélomane ou plutôt assez intellectuel pour apprécier ce genre musical. C'est étrange cette obsession de toujours vouloir tout moderniser en effaçant le passé : comme si il nous paraissait évident que ce que nous faisions hier était moins bien qu'aujourd'hui. Comme si effacer ce passé, accédait de facto à cette modernité, et que d'y accéder nous rendait plus heureux ?
Ce que je ne comprends pas, c'est qu'il faille pour atteindre cette modernité déconstruire. Hier était la construction, aujourd'hui, il nous faut déconstruire.
On a déconstruit l'art figuratif dans la peinture par exemple, dès lors, on est parti des frères van Eck avec " l'agneau Mystic," en passant par l'impressionnisme avec Monet " impression du soleil levant, ) pour arriver à Malevitch et son ( carrée blanc sur fond blanc; ) construction - déconstruction, et c'est le monde entier qui s'extasie... Bon !? idem en architecture, nous passons sommes passé de la cathédrale de Reins à Beaubourg et donc en musique il nous paraissait évident passer de Mozart à Krzysztof Penderecki construction déconstruction.Ici dans la musique d'opéra ou plus généralement " la nouvelle musique classique contemporaine " il fallait trouver cette déconstruction donc exit l'harmonie des notes, vive la cacophonie, la dissonance, ce qui ne peut qu'aboutir à une de l'étrange, du mystérieux qui ne peut qu'accoucher de musiques angoissantes, torturantes. Toutes ces musiques contemporaines traduisent toutes un sentiment d'angoisse de tristesse, ou de folie . ce qui prouve bien que nous sommes toujours dans ce schema du destructif. Dans la musique contemporaine point de place pour l'amour, la joie, ou le bonheur point d'allégresse. Si vous êtes de nature angoissé, ou enclin à la dépression, je vous déconseille fortement d'assister à ce genre de spectacle : c'est un coup à vous jeter sous les rails du metro ou de vous jeter dans la seine.Bref je ne souscrits pas du tout à ce genre qui me semble n'est fait que pour faire pâmer quelques intellectuels dans les soirées mondaines .Je préfère de loin du Bellini, du Gounod, du Verdi même si dans beaucoup d'opéra Italien la musique manquent parfois d'originalités mais au moins on en sort plein de bonheur et de joie et ravi d'avoir assisté à un beau spectacle qui vous rend heureux et non pétri d'angoisses malgré quelques niaiseries que l'on peut retrouver dans l'Opéra Italien.
Che cosa orrenda priva di qualunque ispirazione.Pwr fortuna e' passato di moda. la Norma,la Traviata, il Don Giovanni invece no.