IN FERNEM LAND

VALENTINA DE ARTURS MASKATS (vídeo)


Compta amb el vídeo d’avui perquè estic segur que si us deixeu les pors, els prejudicis i les mandres que sempre produeix una òpera nova, desconeguda i contemporània, us podeu trobar amb una agradable sorpresa.

Per contra alguns estic segur que arronsaran el nas quan sàpiguen que el compositor utilitza un estil eclèctic que barreja, combina o alterna diverses escoles i tipologies musicals que poden anar del cabaret berlines al jazz, de les melodies d’arrels folklòriques a Janacek o Xostàkovitx, Kurt Weill o fins i tot Leonard Bernstein, emprant una rica paleta tímbrica per a una orquestració imaginativa al servei de les melodies degudament deformades amb atonalitats i dissonàncies per no semblar anacròniques però suficientment agosarades per a una obra estrenada l’any 2014, quan molt pocs gosen utilitzar-les sense cap mena de complexa, al servei d’àries no només per a la protagonista, duos (meravellós el de tenor i baríton, Aleksey i Valdis del segon acte) i corals de gran impacte. Música intensa i directa al servei d’un llibret teatral colpidor basat en fets reals.

Valentina, l’òpera del compositor letó Arturs Maskats, ha estat la darrera transmissió de la sorprenent The Platform Opera. Aquesta obra tracta d’un període cabdal d’Europa i té com a protagonista a la historiadora de cinema jueva Valentina Freimane, nascuda l’any 1922. L’òpera reviu un període dramàtic en la història de Letònia, el que abraça entre 1939 i 1945, que va resultar cabdal per a la coexistència a Letònia de diferents grups ètnics.

Valentina Freimane va passar la infància entre Riga i Berlín, on el seu pare treballava com a advocat per als estudis cinematogràfics UFA i la seva mare era una influent activista cultural de la societat que es relacionava entre d’altres amb les figures més significatives del cinema de l’època. En el seu retorn a Riga, la família va sucumbir davant l’holocaust. Els pares i l’espòs de Valentina Freimane van ser assassinats per l’ocupació nazi, mentre que Valentina va sobreviure a la guerra en la clandestinitat sota la dictadura soviètica.

En l’actualitat Freimane continua vivint entre Berlín i Riga. La seva autobiografia, “Adieu, Atlantis !”, que narra amb detall la seva vida durant la guerra, va ser publicada l’any 2010.

Aquesta és la primera òpera del compositor Arturs Maskats (20 de desembre de 1957), tot i que ha escrit música incidental destinada a obres teatrals. L’estrena de Valentina es va saldar amb gran èxit, com a cloenda de la capitalitat europea de Riga. Sobre la seva primera òpera va manifestar que la biografia de Valentina Freimane és inseparable de la història de Letònia i la d’Europa, i ens ofereix una nova perspectiva sobre un període històric narrat amb color i contradicció. Els moments més dramàtics de la seva història vital coincideixen amb moments històrics com la pèrdua d’independència del país, una experiència que va deixar als letons esgotats física i emocionalment. No obstant això l’òpera és més que una simple obra política; subjacent sota els successos narrats, hi ha una història d’un profund sentiment i un gran amor.

La representació que va tenir lloc el passat 30 de maig no té gaire pretensions escèniques, però compte amb una acció escènica prou potent com per atrapar a l’espectador malgrat que no hi ha subtítols, quelcom que impedeix la total comprensió dels fets que s’expliquen.

Per sobre d’un competent equip vocal sobresurt la magnífica interpretació de la soprano Inga Kalna (meravellosa  primera Dama a la Die Zauberflöte que Jacobs ens va fer al Palau i posteriorment magnífica també en el Lucio Silla al Liceu (2013)), aquí intensíssima en un rol molt agraït i exigent, ple de grans moments lírics i dramàtics que aprofita amb la seva poderosa veu i la intensitat del seu cant.

Em sembla incomprensible que en aquest projecte de The Platform Opera, emetin una representació d’una òpera nova i en un idioma minoritari, sense cap mena de subtítols o explicació prèvia. Al menys el vídeo que disposo i comparteixo amb vosaltres no els té.

Si voleu veure l’òpera abans de baixar l’arxiu, només heu de prémer AQUÍ

SINOPSIS ( en anglès)

Acte I

It is spring, the Easter of 1939. A company has gathered around the table in the sunny family dining room – Valentina’s mother with an admirer, Valentina’s father, and Alexey. The guests entertain themselves. Children are playing their games, Valentina, Alexey, and the governess among them. Games having ended, Valentina as the youngest one at the family table poses the four questions of Ma Nishtan ritual before the meal, and they are answered by the oldest one amongst those who are present – her father.

A festive atmosphere prevails and dances begin in the flat. Valentina’s mother dances with her admirer, and they mention Valentina and Alexey as they converse. The cavalier indicates that these young people could make a nice couple, to which Valentina’s mother responds that no one except Valentina herself will chose the person to share her life with. In the celebratory mood, Valentina and her mother exchange words, and their conversation reveals that Valentina is in love and the name of her chosen one is Dima.

In a country house, Valentina is teaching English to children. Nearby, the old farmer – their landlord is seen engaged in his daily work around the farm. Valentina ends her session with children and notices Dima in the distance who has arrived from Riga. They meet and give themselves to their shared solitude. As the summer twilight falls, their landlord is reading his newspaper in the moonlight when Valentina and Dima return and engage him in conversation about the news of the day. Farmer shares his dark premonitions for future.

Gathered around a table in a pub, Valentina, Dima, and Alexey are seen. At neighbouring tables, there are fraternity members toasting the beginning of their academic year, discussing politics, sharing a glass and singing. Dima, Valentina, and Alexey turn their conversation to politics, but, next, Dima and Valentina start questioning Alexey about his exploits in summer. Alexey tells them about his experience and introduces them to Valdis. Dima, Valentina, Alexey, and Valdis leave the pub when they are seen by Valdis’ cousin Elsa who follows them. Four friends wander the boulevards of Riga. Seeing Dima and Valentina together, Elsa is gripped by jealousy, as she is in love with Dima. Friends end their walk only with the first rays of dawn.

Latvia has been invaded by the Soviet Union. In their apartment, Valentina and her mother and father are deep in conversation. Her father is worried about their future, while mother discusses the order imposed by the new regime. A sense of fatality and imminent war prevails. Preoccupied, Valentina’s mother urges her to marry Dima. They receive the news about the beginning of war.

Acte II

Early in the days of Nazi occupation, Valentina and her mother and father prepare to leave their flat to go to the ghetto. Her father is ready for this fate, but urges Valentina and her mother to stay and find a hiding place. Her mother asserts she is willing to follow her husband to ghetto. Valentina would go with her parents as well, but they insist that she should stay with her husband Dima. Valentina’s parents join other members of Jewish population, which is marched to the ghetto.

Valentina and Dima are alone in apartment and, in hopes of dispelling their sense of encroaching ill fate, make attempts at learning phrases in Swedish. They discuss what they have heard whispered in town – that those rounded in the ghetto are taken to outskirts of Riga and none of them has been seen to return. Valentina and Dima reminisce about their summer stay in the country house. Their reverie is cut short by a banging of fists against their door. Dima orders Valentina to hide and goes to open the door. Two members of Schutzmannschaften enter apartment searching for Dima’s wife, Jewish Valentina. The Schutzmannschaften interrogate Dima and shoot him. Then, intruders rob the apartment and hurry to leave it. Valentina flees from her family apartment and laments her murdered husband.

Officers’ ball is gleeful and overflows with champagne. Elsa is among its many guests. Wearing officer’s uniform, Valdis is also present in the event; he is tormented by his conscience. Elsa and Valdis run into each other in the ball, and Elsa confides in him about her broken heart, for the reason that Valdis had introduced her beloved Dima to Valentina. Elsa admits her present indifference towards Dima. After Elsa leaves, Valdis discusses the gains brought by war with a pair of Schutzmannschaften. They tell Valdis about seeing his photo in an apartment of Jewish family they have looted and about a husband who had tried to hide his Jewish wife in those rooms. Valdis leaves his chance companions who continue their revelry. Left alone, Valdis suffers an inner torment as a collaborator of murderers, but keeps hope that he would be able to save his friends.

The streets of Riga; Alma is taking Valentina to another flat where she could hide. Valentina tries to delete the addresses of the places she has been hiding in from her memory in order not to endanger their owners. Suddenly, on a street corner, Elsa is seen to be standing who notices Valentina and Alma. Elsa is surprised as she has been convinced that Valentina would have lost her life. Latgalian Alma is praying in her mother tongue on their way to the next safe haven for Valentina. Alma takes her to Doctor’s address.

On his way to flee the state along with withdrawing German army force, Valdis says his parting words to Alexey. Alexey wishes to join him. Valdis convinces him to stay while, himself, he should take the road.

Valentina is busy on a work of embroidery, safely sheltered in Doctor’s house. Doctor and Valentina turn to discuss the notable signs of time.

The town has been abandoned by German troops, and Valentina emerges from her hiding place into its empty streets. Valentina is saved.

Arturs Maskats
VALENTINA
Libretto : Liana Langa i Arturs Maskats

Valentina: Inga Kalna
Dima: Juris Ādamsons
Aleksey: Mihail Chulpaev
Valdis: Rihards Mačanovskis
Alma: Ieva Parša
Elsa: Andžella Goba
Mare de Valentina: Liubov Sokolova
Pare de valentina: Armands Siliņš
Valentina en l’actualitat: Ieva Kepe
Institutriu: Laura Grecka
Granger: Krišjānis Norvelis
Doctor : Samsons Izjumovs
Admirador: Nauris Puntulis

Latvian National Opera Orchestra
Latvian National Opera Choir (Aigars Meri)
Director musical: Modestas Pitrenas

Director d’escena: Viestur Kairish
Dramatúrgia: Gustavs Strenga
Coreografia: Agris Danilevics
Disseny de vestuari: Ieva Jurjane
Escenografia: Ieva Jurjane
Disseny de llums: Nicol Hungsberg

Lettischen Nationaloper de Riga 30 de maig de 2015

ENLLAÇ Vídeo

http://www.mediafire.com/watch/2f8bil175tzxxw8/Valentina_Riga2015.mp4

La proposta és molt interessant i Berlín ja l’ha estrenat, jo de vosaltres no ho dubtaria

Enllaç relacionat

http://www.opera.lv/en/productions/productions/operas/valentina

10 comments

  1. Eduardo

    Gracias Joaquim
    Tu apunte perfecto, como siempre. Espero disfrutarla y que no sea otra opera de un compositor actual, como The Ghosts of Versailles, que me gustó mucho, y creo solo el Met la ha programado una sola vez.
    Buena semana parara todos!!!!!!!!!!

    M'agrada

    • De nada Eduardo.
      Informació sobre The Ghost of Versailles

      Lyric Opera of Chicago staged the opera in the 1995/1996 season in the first performances outside of the Metropolitan Opera, in a lightly revised version that cut some expensive aspects of the Met’s production, including an onstage orchestra.

      In 2008, on Corigliano’s recommendation, Opera Theatre of Saint Louis (OTSL) and Wexford Festival Opera in Ireland engaged composer John David Earnest to rework the score for chamber orchestra — in order to make it suitable for performances in small houses. The World and European première performances of this version took place the following year with co-productions at OTSL and Wexford Festival Opera respectively.

      The opera was supposed to be revived at the Metropolitan Opera in 2010. General Manager Peter Gelb had already invited Kristin Chenoweth to play the part of Samira. However, the production was canceled in 2008 because the weakened US economy at the times required the cutting of costs instead of launching an expensive production like this.

      The work was given its West Coast premiere in 2015 at Los Angeles Opera in a full-scale production starring Patricia Racette and Patti LuPone

      M'agrada

  2. antonio Fernández

    Gracias Joaquín por todos tus aportes y comentarios. Soy un fiel seguidor del extraordinario trabajo que realizas diariamente, para acercarnos a este mundo maravilloso que es la ópera.
    Quiero hacer un pequeño aporte para indicar que las óperas que están retransmitiendo si disponen de subtítulos en varios idiomas (6). Se despliegan si pica en la parte superior donde pone VERSIÓN y además si picas/o pasas el mouse por encima de CHAPTERS también se despliega un menú con la duración de los actos.
    Saludos, Antonio Fernández

    M'agrada

    • Hola Antonio, gracias por la aclaración, entonces el problema és que el archivo que me ha llegado y he puesto a disposición no los incluía, con lo cual rectifico la queja.
      En esta ópera eran esenciales.
      Un saludo y espero volver a leer algún que otro comentario tuyo ahora que te has decidido.

      M'agrada

  3. SANTI

    Molt interessant.
    El segon acte és molt impactant i la soprano Inga Kalna està immensa.
    És una òpera poc contemporània però és molt digerible i sobretot funciona molt bé perquè té un llibret teatral i les situacions dramàtiques són emotives.
    La barreja d’estils no sé si la beneficiarà de cara a la crítica especialitzada, però en a mi m’ha agradat bastant.

    M'agrada

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