New season's production at the Latvian National Opera and Ballet in its 100th season will be pirmiestudējums – 20th century French composer Francis Poulenc Karmelīšu dialogues the world for the first time in 1957. Milan at Teatro alla Scala. The experienced French operrežisors Wenshan Busaras argue that this story is not mentioned about Compiegne moceklēm, Karmelīšu monastic sisters with the Great French Revolution cutting off the head, but something completely different t – in case. From the dangers of the world around our scope and fear of being an adult, it's not just the main character of the opera, Blanch, but many young women these days. Opera is free to work outside the language frames and build bridges between different ages, starting with music.
– Tell us about your way to stage art until you reach the famous La Comédie Françaisewho is your first stage!
– In fact, music was at first. In my childhood I was studying in a music school, playing violin. He then left the music to learn to play the theater. But officially and consciously really studied drama, becoming the first drama actor, and then gradually I came to the genre that I liked best and always tended to, namely opera t , as it combines music and theater. La Comédie Française I was brand new, after graduating, and at the age of 26 I became head of his studio. The studio meant a smaller playing field and a more experimental approach to theater art than great I & # 39; t like it there and I stayed there for four years. After that, I decided to go to full opera. Opera means freedom for me. There is no linguistic barrier in the dramatic theater. I can hold an opera in San Francisco, Paris or Tokyo. Music is what gives us freedom, our language is general. I would feel that I was addicted if I could only work in my native French language.
– The dramatic theater no longer lives in a language trap, as the dominance of text and language is no longer relevant.
– Of course, it is true, but the process came as a response to globalization, when directors looking for the other kind of theatrical language, which could reach a wider audience, realized. However, they are only about the last twenty years, which, for example, is a drop in the sea in the context of French theater history. I chose to go through the music and the emotions that come with it, especially strong in the unprecedented audience. It is a pleasure to see how this genre moves the modern man, who, for example, is listening for the first time. At the same time, opera offers a stable, ready-made structure – music and text are the limitations that set the foundation on which you can build it freely. I know colleagues who are in a panic of this genre, but because the orchestra, choir and soloists, all have a certain speed and time … My turn, all exciting.
– Before starting your career as a director, you were an assistant to a number of other directors. What is the significance of this experience in your creative life?
– I want to highlight one cooperation that has given me a lot, inspired and developed. This was the work together with the Greek director Janne Cocos, which was the last 80s and 90s, was famous in France, especially because he not only the director, but also a very talented set designer. He worked in theater and opera. I was his assistant for a few years. It was a real life school in the opera. In turn, in the dramatic theater, I had the honor of working with Jean Pierre Michael. Of course, I was inspired by the vision also like Patrick Shero and other classics.
– The contemporary opera director has many features, starting with the producer's work and ending with the author's position. What about you?
– I'm rushing in half. That's right – on the one hand, our producer has to collect a team, plan time and do many other organizational things. On the other hand, I have to be prepared for a vision, an idea I want to express, so I can introduce it when a team is collected. That means I have to be a homework that has to do well, a ready-made concept and ready to provide convincing arguments over my vision.
– What is your starting point – music or opera? – Music, music, music. I & # 39; s first ideas in the form of a sketch on paper. Then I took photos of the debtor for the stage designer. Then I created more sketches and pictures by juxtaposing the visual image. Of course, I also read and study the context associated with the composer's personality, the specific opera and its history. I'm interested in what the composer has thought and felt at the time that what the public reaction might have been, as a piece of music being seen and 39 to interpret in writing at the time. It must be clear to understand what you are dealing with it as director.
– What about operas have held hundreds and thousands of times? There, studying its historical context, especially the history of interpretations, take a long time.
– Of course, you can't explore everything Traviat sustaining history, it would take life. However, as I have run this opera myself, I know what I am talking about. I'll lock it until Verdi is supposed to give the story out of my time, or else it would be very dangerous… t
The problem of very popular operas – goes to the director's table or leader with a thorough tradition of batinas. And it's pretty dangerous, so it's nice to go back to the start, explore the composer's context and look at it with the freshest eye. In ninety per cent of cases, the tradition of opera interpretation turns out to be a constant combination of bad habits. For example, the leader couldn't cope with a difficult place in the score and made kupīru there, but the next then say – see, where already kupīra, our tradition, so take this into consideration.
& # 39 does not; properly refers to something as unverified tradition. Don't think that my traditions are indifferent, to the contrary, but we have to be critical rather than accept a ritual tradition as a ritual. Rituals are something else like going to the church, throwing a cross because it is a ritual. Yet sometimes behind an honored tradition lies essentially laziness to explore this tradition, which it was introduced, whether it is written in the score and so on. There & # 39; s encouragement and reluctant to get into it.
– What are you doing right now when you've researched everything and made a bridge to the modern audience of history? – My passion, even obsession, is to try to find a balance between the time the opera was written, the time it takes, and today. As the opera doesn't have to be a museum. The fact that the opera was written in the 19th century does not mean that I have to show the 19th century on stage!
– Doesn't it mean in a baroque? You have also worked a lot with Baroque operas.
– Yes, much. And always argue. For three or four years at the beginning of his career, brand new and green, I worked with the famous Baroque group in France. Les Arts Florissants. The first opera I made was Henry Pearl Didon and Anne. Ensemble manager William Christie is highly educated, knowledgeable Baroque expert, knows everything, not only about music, but also about Baroque dance, movement, gestures and so on. But I wasn't interested in it all. I believe and believe today that the director's task is to build bridges between opera and contemporary audiences. We respect and consider the time of creating the composer, but we live today. I was interested in creating a contemporary where baroque musicians breathed onto the stage with the audience in the hall. It sounds simple, but it's very difficult.
– Francis Pulenks Karmelisi Discussions, it seems, trying to achieve this contemporary, with an old historical event acquiring a contemporary version which, in interaction with the listener, creates a story about today. How do you work with this material? – It is very important for the time when the French had a bad habit of breaking their heads, the riot of the Great Revolution. Gertrude von Lefort in 1931 was the first to write a book about this event under the name Last on the scaffoldingAnd she really did not write this novel about the sisters of Karmelīšu Great French Revolution, but Nazism, Bolsheviks and the loss of religious belief, and action against the Jews. He used this story of martyrs, but created a completely different story. Subsequently, a scenario was commissioned for George Bernanos who wrote after the Second World War, yet another story. The shame and sacrifice of French post-war should be made to restore the lost honor. Each author uses the historical and political context to talk about their own time. It's kind of distance that helps you talk about yourself and your time.
– & # 39 why you; n & # 39 have it; s an interesting exercise Carmelic dialogues?
– I really wanted to practice Carmelic dialogues just because I think many young women these days feel like Blanch. She's afraid of the terrible world around and trying to understand how to become an adult. Unfortunately, I know a lot of young women who are actually a problem of such a reality today – they give the best to eat or eat too much, thin, drug use, fear of doctors, shame your body and so on. They fear and fail to grow at the same time, to accept the fact that there is no child, and you need to open its doors to the big and uncertain world can not hide under the pillow and pretend not to is the world at all. Of course, the other aspect is religion, but I will not talk about it. On the first day, when I met the singers, I said: "This story is not about the nuns." Of course, there are nuns like characters and monastery as context, but the real story isn't about the life of the nuns. There is much deeper psychology that I think can resonate with many young women in today's society.
– Many & # 39; d productions also uniforms, but not Carmelit dialogues. How do these two work patterns differ when you look after the clothes yourself and when you trust someone else?
– It's very simple. If I feel that costumes are part of the management concept, I often draw them myself. If I feel I need to be inspired by costumes, I trust this work for someone else. That's how I worked for a very long time. For over 15 years I have worked with fashion designer and costume designer Kristian Lakru, and she has taught me a lot. My understanding of fashion design comes from it. It now works practically on stage only. Our cooperation was very close to the first sketch to the first tolerance.
There are concepts that need acetic costumes and there are some who need to lose control to get something crazy. As a director I always care about the balance between staging – it can be fantastic, fantastic set design and great costumes, but in the end it's all too much. There is no room for everything on stage. Less is bigger, and all the salt is detailed, that's my belief. The staging I had the feeling that I myself did not create costumes, so they formed Argentina designer of young and charming originals Clara Pelufo-Valentin of Barcelona, collaborated with him for the second time – she & # 39's feel very good in today's trends and the opera. Before traveling to Riga, I ran Mozart in Marseille The wedding of Figaroand it was a completely different case, my costumes were part of my concept.
– Where does the stereotype come from, for example, only French can perform well in a French opera?
– I & # 39; & # 39 n disagree; Totally. However, this is likely due to linguistic nature. Also Karmelīši dialogues language, pronunciation, mood and phrases are very important. If there is a language problem, there & # 39; the rest will be defeated. I use a language consultant to work with Latvian soloists because it is necessary, they have a big challenge to do this work. Perhaps the stereotype was rooted in the complex that nobody knows in French well enough? But this view is also wrong.
– For the past twenty years, there has been a director of your career very intense. Have you ever caught yourself in excitement or self-recorded albums?
– The link between each production is always individual and & # 39; s next. Our continued existence, ideas are living and evolving, and re-settling. I've had people to say – yes, here's your handwriting, then I'm coming attentive, looking at what it means. However, the main thing for me is to understand what style fits in with the special opera. And the style begins with music, with the way in which the opera's musical interpretation, body condition, and so on. The style also includes contexts, material signs, expression, story, possible resonance with modern society.
– Have you worked in other musical scene genres outside the opera? – Yes, about ten years ago I did two shows to pop singers. It was a very different and interesting experience, but it was a job side by side. One of my artists was Idol my childhood, Alen Bashung, the other was Christopher, the star of the seventies. I could hardly work with modern pop stars, but with these musicians we can fantasize and create a show outside some frames and the demands of a modern show business. Once again, I had a chat with a producer and laughed and said that I was the only one who believed in making art rather than doing business. In the opera, however, the artistic field is wider, the horizon further.
Vensans Busars (1969), director of French opera
- He studied at Nanterre University in Paris for a master's degree in theater
- 1996-2000 in the year led the famous French theater La Comédie Française Study where she detonated as a director in 1999
- Since 2001, only operas have been staged, collaborating regularly with the stage designer Vensen Lemer (also). Karmelīši dialogues LNOB) and costume artist and fashion designer Kristian Lacra.
- He has made operas in Germany, France, Spain, Austria, Sweden, Finland, Japan and the United States, including in conjunction with leaders such as Abel Yves, Daniel Jardin, Christian Tleman, Carl Montanaro and others. To be performed at the Salzburg and Avignon Festivals, Innsbruck Ancient Music Festival t
- 2015 – Žila Masne, Lithuania National Opera and Ballet Theater Manona It was also shown at San Francisco Opera House and Korean National Opera