January 19, 2021

The opera also gives visibility to gender violence

Jordi Domènech and Valentina Coladonato, in a scene from the play & # 039; Marie & # 039;

Jordi Domènech and Valentina Coladonato, in a scene from the play ‘Marie’

‘Marie’ is the opera that names all women who have suffered gender violence, said this Thursday the author of the libretto, Lola Blasco. Directed by Rafael Villalobos and with the music of Germán Alonso, it means the first collaboration between the Teatro Real and the Teatro de La Abadía.

The general director of the Teatro Real, Ignacio García-Belenguer, has highlighted that this show represents a fundamental collaboration in the field of culture by joining two theatrical institutions and has described this opera as “contemporary, young and groundbreaking“, along the lines that the Madrid Coliseum wants to develop.

Blasco, 2016 National Prize for Dramatic Literature, has indicated that felt the need to talk about the “scourge” of gender violence, starting from a character that appears in literature and music. The work is inspired by the drama of ‘Woyzeck’, by Georg Büchner, and the operas of ‘Wozzeck’ and ‘Lulu’ by Alban Berg, as well as literary myths such as ‘Otello’ or ‘Carmen’. The author brings together in the protagonist, with such a significant name, “archetypes” of women: “Marie is the virgin, but she is also Mary Magdalene.”

The soprano Nicola Beller Carbone plays ‘Marie’ while the baritone Xavier Sabata plays ‘Woyzeck’, who will be replaced on January 10 by Jordi Domènech and Valentina Coladonato. A play in which the actors Julia de Castro, Pablo Rivero Madriñán and Luis Tausía also take part. “It has been a real vocal challenge, a show very different from what I have done so far“said Beller Carbone, who has recognized that he has lived the experience as a learning opportunity.

Xabier Sabata has highlighted that, as it is a contemporary piece, it invites you to enter the world of the composer and has stood out as a “act of militancy and commitment“to play the character of an abuser. Director Rafael Villalobos has pointed out that it is a” multidisciplinary work, with the spirit of the tragedies of ancient Greece “and has stressed that it is a” hybrid “of the performing arts.

The story tells, through the eyes of an author – Lola Blasco’s alter ego – the reasons that lead soldier Woyzeck to murder his partner through the story of several characters and the reflections of this author, in a way that time limits are “diluted”explains Villalobos.

“Actually Three murders are narrated, seen from different perspectives“, explained Blasco, who seeks a reflection on” how we contribute as a society and what models we reproduce “so that the gender violence. A function that poses almost like a trial: “You always know more about murderers than about victims.”

The director has indicated that despite the drama, has sought beauty drawing inspiration from the works Caravaggio, a way of creating a “mirror in which to look at ourselves”, building a hypnotic environment to capture the viewer’s attention. “The brutality makes us look away and not realize reality,” says Villalobos.

Composer Germán Alonso indicates that the text leaves the way open with suggestive concepts and images to use different musical languages ​​and the voice. “The choice of one or the other responds to the dramatic structure”, so – he explains – he has opted for electronic and instrumental music when the narrator’s voice-over is the protagonist. The scenes in which the author gathers information on the surroundings of ‘Marie’ are dramatic without music and then there is the “opera itself, a purely lyrical meta-opera when she writes the libretto.

Carlos Aladro, director of La Abadía, which hosts the seven performances from January 9 to 17, has pointed out that this show puts the finishing touch on the theater’s 25th anniversary with a creation that reflects the “avant-garde and creativity” from the hand of young authors for a young audience. A collaboration with which the artistic director of the Real, Joan Matabosch, has also been satisfied, who has invited not to come with “strict” ideas about what an opera is, which in the case of ‘Marie’ combines different musical genres, from Baroque to rock through electronic music, and places it closer to musical theater.


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