Programma Te Maken

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Programma Te Maken Het Innerlijke Landschap INHOUD INFO CONTENT DI 16.6 TUE 16.6 CREDITS 03 aanvang starting time NIEUWE OPERA VAN GUO WENJING EN 20:30 8:30 pm FILM VAN FRANK SCHEFFER ZOEKEN DE GRENZEN OP locatie venue NEW OPERA BY GUO WENJING AND FILM Muziekgebouw aan ’t IJ BY FRANK SCHEFFER SEEK NEW DIREC- TIONS BASED ON TRADITION 05 duur running time 75 minuten, geen pauze OVER DE ARTIESTEN 14 75 minutes, no interval ABOUT THE ARTISTS 16 taal language HOLLAND FESTIVAL 2015 19 Mandarijn met Nederlandse boventiteling Mandarin with Dutch surtitles WORD VRIEND BECOME A FRIEND 22 inleiding introduction door by Frank Kouwenhoven COLOFON 19:45 COLOPHON 24 7:45 pm 1 CREDITS muziek music uitvoering muziek performed by Guo Wenjing Nieuw Ensemble: Harrie Starreveld, fluit flute regie direction Ernest Rombout, hobo oboe Frank Scheffer Lei Wang, sheng Bart de Kater, klarinet clarinet zang vocals Yuening Liu, yangqin Shen Tiemei Ernestine Stoop, harp Herman Halewijn, percussie percussion dirigent conductor Fredrike de Winter, percussie percussion Ed Spanjaard Angel Gimeno, viool violin Emi Resnick, viool violin drama regie drama direction Frank Brakkee, altviool viola Miranda Lakerveld Jeroen den Herder, cello Rob Dirksen, contrabas double bass decor set Jia Zhao Sichuan Opera: Deng Feng concept Deng Xiaojun Joël Bons/Frank Scheffer Gou Ji Yang Zirui Zhang Jianying percussie percussion Bang Qiang (koor chorus) Ma Huaiqiu Wang Ya Zhou Yuping wereldpremière world premiere Amsterdam, 16 juni 2015 2 3 NIEUWE OPERA NEW OPERA BY VAN GUO GUO WENJING WENJING EN AND FILM BY FILM VAN FRANK FRANK SCHEFFER SCHEFFER ZOEKEN PUT THE DE GRENZEN OP AUDIENCE TO THE TEST door Frank Kouwenhoven by Frank Kouwenhoven ‘Denk je dat een westers publiek je in deze muziek wel kan volgen?’ Het gezicht ‘Do you think a Western audience will be van dirigent Ed Spanjaard staat bezorgd able to follow this music?’ Conductor Ed als hij zijn vraag voorlegt aan de Spanjaard looks worried as he puts this Chinese componist Guo Wenjing. Ze question to the Chinese composer Guo hebben zojuist het nieuwe theaterwerk Wenjing. They have just rehearsed Guo’s van Guo gerepeteerd, de opera Si fan new opera Si fan (Desire for Love), which (‘Liefdesverlangen’), die in het Holland is premiering at the Holland Festival Festival samen met beelden van Frank together with visuals by Frank Scheffer Scheffer als Het Innerlijke Landschap in as Het Innerlijke Landschap (The Inner première zal gaan. Het stuk heeft een Landscape). The theatre piece has a hoofdrol voor Shen Tiemei, ster-zangeres leading role for Shen Tiemei, star singer van de Sichuan opera, maar ook een pro- of Sichuanese opera, but also gives a minent aandeel voor Chinees slagwerk, prominent part to Chinese percussion, met schrille bekkens, snerpende gongs en with shrill symbols, piercing gongs and hoge trommen die de zang begeleiden. high drums that accompany the singing. Voor Ed Spanjaard is het resultaat soms For Ed Spanjaard, the resulting sound is te fel van klank, en hij vraagt de compo- sometimes is too sharp, and he wants nist of het eigenlijk zo wel de bedoeling to know if this is really the composer’s is. Vergt Guo niet te veel van zijn wes- intention. Isn’t Guo asking too much of terse toehoorders met al die luide, hoge his Western listeners with all those loud, frequenties? high frequencies? Naturally, this is the Het is natuurlijk wel het ‘oergeluid’ van ‘prototypical’ sound of Chinese opera. Chinese opera. Guo haalt met een voor Guo shrugs his shoulders in a grumpy hem karakteristieke knorrigheid zijn manner typical of him and throws the ball schouders op en speelt de bal terug: of back at Spanjaard: So does he have a Spanjaard soms een oplossing weet? solution? Het is een veelzeggende scène uit de The above is a telling scene from Frank documentaire die Frank Scheffer maakte Scheffer’s documentary about Guo over Guo Wenjing, een van China’s be- Wenjing, one of China’s most important 4 SHEN TIEMEI 5 langrijkste hedendaagse componisten. contemporary composers. The film and rechtstreeks aan de goden in de hemel is opera as the most important form of art Film en opera vormen samen één geheel; the opera form a whole; the images from gericht, en ook de geraffineerde versie- or as a necessary ritual is definitely on the de beelden uit de documentaire gaan the documentary flow seamlessly into ringen in de zangstemmen en de subtiele wane in China; the genre is struggling. naadloos over in een scenische achter- background projections once the opera bewegingen van de acteurs leven nog In his film, Frank Scheffer records the grondprojectie als de opera eenmaal starts. voort, maar opera als belangrijkste kunst- rapid changes in China, the loss of begint. Guo Wenjing has enjoyed a considerable vorm of als rituele noodzaak is in China traditions – we see images of a splendid reputation in the Netherlands since beslist op zijn retour, het genre heeft het village opera that attracts only a Guo Wenjing geniet – onder meer dankzij the 1990s – partly thanks to the Nieuw moeilijk. few spectators – but also the rise of het Nieuw Ensemble en het Holland Festi- Ensemble and the Holland Festival – and Frank Scheffer legt in zijn film de snelle youth culture and new music. Here val – al sinds de jaren negentig de nodige is an old hand at Chinese opera. For veranderingen in China vast, het teloor- the filmmaker and the composer find bekendheid in Nederland, en heeft meer example, he wrote Chinese Heroines, gaan van tradities – we zien schitterende common ground, for neither one avoids dan eens met het bijltje van de Chinese a trilogy of operas partly in traditional beelden van dorpsopera, die nog maar confrontation with the modern era or opera gehakt. Zo schreef hij bijvoorbeeld Chinese style about three legendary een beperkt publiek trekt – maar ook de a rapidly changing world. The question Chinese Heldinnen, een serie opera’s in female warriors, which was shown at the opkomst van de jeugd, en van nieuwe mu- is: What direction will music take in the deels traditionele Chinese stijl over drie Holland Festival in 2008. Critics lauded ziek. Hier vinden filmmaker en componist future, what direction will humanity take? legendarische vrouwelijke krijgers. De the three operas, even though Chinese elkaar, want beide gaan de confrontatie And what will be the role of a country like reeks was in 2008 in het Holland Festival opera turned out not to be everyone’s met moderniteit, met een kantelende China, which at the moment is putting an te zien. De kritieken op het drieluik waren cup of tea. Chinese Heroines was too wereld niet uit de weg. De vraag is welke increasingly stronger stamp on the rest of lovend, al bleek Chinese opera niet ieders much of an assault on some people’s ears kant het straks opgaat, met muziek, the world but which, as we know, has little cup of tea: voor enkele toehoorders was and they left early. But the vast majority en met de mens? En welke rol is daarbij respect for individual freedoms? Chinese Heldinnen een te forse aanslag of the audience sat it out and rewarded weggelegd voor een land als China, dat op het gehoor, ze verlieten voortijdig de the performers with standing ovations. momenteel steeds sterker zijn stempel Guo has witnessed the sweeping zaal. Het overgrote deel van het publiek In China itself, however, the popularity drukt op de rest van de wereld, maar dat transformations of his country in person. zat de rit wél uit en beloonde de spelers of traditional theatre is declining, even ook, zoals bekend, weinig op heeft met Unlike so many other composers of his met staande ovaties. Maar ook in China though this has less to do with loud individuele vrijheden? generation (Tan Dun, for instance, and zelf neemt de populariteit van het tradi- percussion or falsetto voices than with Chen Qigang) he decided to stay in China tionele theater af, al heeft dat minder te its underacted, archaic performance Guo heeft de ingrijpende transformaties instead of moving abroad, and this has maken met luide percussie of falsetstem- style and musical refinement, all of van zijn land aan den lijve meegemaakt. enhanced his reputation as an artist who men dan met de ingetogen archaïsche which seems to have little to do with the Anders dan zoveel andere componisten has remained close to the sources of his speelstijl en muzikale verfijning: dat lijkt experience of modern city dwellers, who van zijn generatie (zoals Tan Dun en Chen own culture. allemaal nog maar weinig aan te sluiten in the People’s Republic have sooner Qigang) besloot hij niet naar het buiten- Guo grew up during the Cultural bij de beleving van moderne stadsbe- grown up with games, action films and land te verhuizen, maar bleef hij in China, Revolution in the city of Chongqing, in woners, die in de Volksrepubliek eerder a rapidly modernizing society than with hetgeen heeft bijgedragen aan zijn the freewheeling southern province of opgroeien met games, actiefilms en een traditional opera. Traditional village life is reputatie als kunstenaar die dicht bij de Sichuan. At the time, tanks rolled through razendsnel moderniserende maatschap- dying out in China. Mass migration to the bronnen van zijn eigen cultuur bleef. the streets and cannons were fired into pij dan met traditionele opera. big cities is undermining the framework Guo groeide op ten tijde van de Culturele the city from ships on the Yangtze River. Het traditionele dorpsleven in China staat of local community spirit and village Revolutie in de stad Chongqing, in de ‘It was dangerous, but I was a child; I op verdwijnen, de massale trek naar de rituals that gave traditional theatre its ruige zuidelijke provincie Sichuan.
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