The Exterminating Angel
Total Page：16
File Type：pdf, Size：1020Kb
LELELELE BUGUE BUGUEBUGUEBUGUE EN EXCLUSIVITÉ AU BUGUE Salle Eugène17H20 Le Roy 16 h 30 SAMEDI SAMEDI14 MARS 29 NOVEMBRE18H30 181H207H20 Salle Eugène Le Roy Réservation : Maison de la Presse Salle Eugène Le Roy Le Bugue 05 53 07 22 83 Réservation : Maison de la Presse RéservationRéservationLe Bugue : Maison: Maison 05 53 de 07 dela 22 Presse la 83 Presse Le Bugue 05 53 07 22 83 SalleLe Bugue EugèneENTRÉE 05 53 : 16 07 Le € 22 Roy83 Thomas Adès THE EXTERMINATING ANGEL After an evening at the opera, guests meet to dine with the aristocrat Edmundo Nóbile. Once the meal is over, the guests realize that they can not leave the house. The door is open, but an invisible force prevents anyone from entering or exiting ... Following the rapturous response to his last opera, The Tempest, the Met presents the American premiere of Thomas Adès’s The Exterminating Angel, inspired by the classic Luis Buñuel film of the same name. Hailed by the New York Times at its 2016 Salzburg Festival premiere as “inventive and audacious … a major event,” The Exterminating Angel is a surreal fantasy about a dinner party from which the guests can’t escape. Tom Cairns, who wrote the libretto, directs the new production, and Adès conducts his own adventurous new opera. Music by Thomas Adès, libretto by Tom Cairns in collaboration with the composer, based on the screenplay by Luis Buñuel and Luis Alcoriza Production a gift of Robert L. Turner Additional funding from The H.M. Agnes Hsu-Tang, PhD. and Oscar Tang Endowment Fund, the Francis Goelet Trusts, and American Express A co-commission and co-production of the Metropolitan Opera, Royal Opera House Covent Garden, Royal Danish Theatre, and Salzburg Festival DATE : Saturday 18 November 2017 Time : 6.25 pm OpeEra In 2 acts BY Thomas Adès Run time : 2hrs 30mns Conductor and cast Conductor Leticia Maynar Lucía de Thomas Audrey Nobile Adès Luna Amanda Echalaz soprano soprano Silvia de Ávila Beatriz Leonora Palma Sally Sophie Alice Matthews Bevan Coote Mezzo- soprano soprano soprano Blanca Francisco de Edmundo de Delgado Ávila Nobile Christine Iestyn Joseph Rice Davies Kaiser Mezzo- soprano Countertenor tenor Colonel Álvaro Raúl Yebenes Eduardo Gómez Frédéric David David Antoun Portillo Adam Moore tenor tenor baritone Alberto Roc Señor Russell Julio Rod Kevin Christian Gilfry Burdette Van Horn baritone bass Bass Baritone Docteur Carlos Conde Sir John Tomlinson bass The Exterminating Angel World Premiere: Salzburg Opera House, April 2016. With The Tempest, created in London in 2004, resumed everywhere (except in Paris), Thomas Adès has offered to posterity the first lyrical masterpiece of the 21st century - which followed the already noted Powder her Face ( 1995). This summer, all eyes and ears were turned to Salzburg, which released the new opus of the British composer (born in 1971). The Exterminating Angel takes us far away from the Shakespearian shores. The work borrows its title and its argument from the 1962 film directed by Luis Bunuel under Surrealist influence. After an evening at the Opera, an assembly of aristocrats and wealthy bourgeois ends up at supper in the wealthy home of Edmundo and Lucia de Nobile. There is the conductor who has just directed Lucia di Lammermoor, the soprano who sang the title role, his brother and sister, a doctor and one of his patients, a colonel ... in all fourteen strong heads joined by the only servant who did not dare to flee. Setting The evening takes place in a good social mood, but after the feast, and for no apparent reason, none of the guests find the strength to leave the place. One night passes, then several days, one of the guests passed away, an idyll is formed between a thirty-year-old architect and the dapper Beatriz. For all those shipwrecked civilians, then begins a slow but inevitable decline. Until the diva Leticia Maynar, in a flash of lucidity and unexpected will, manages to free his friends from the curse that has fallen on them. Thomas Adès master in voice writing Divided into two acts of equivalent length, Adès' four-handed adaptation and director Tom Cairns remains very faithful to the original script and dialogues, while condensing them. Aside from the final intervention of Leticia, there is therefore really arias, as could be heard in La Tempête; we are rather in the register of the conversation in music, which does not however prohibit some generous solo parentheses, nor vertiginous polyphonic lashes - like this scene of general hysteria in Act I, when the characters understand that the situation their escape, or grand concertato of the II, when they ask that a victim is sacrificed in order to be saved. Outside the house, therefore often behind the scenes, the chorus of a crowd of curious commentaries on the action and attempts, in vain, to intervene. Ades confirms that he is a master in vocal writing, this Achilles heel of so many contemporary operas. The psychology of each role is finely differentiated, both by the diversity of tessitons (from the baritone bass to the stratospheric coloratura) and by melodic drawings specific to each character. At first lively and joyful, the lines stretch and twist together with events, reaching tops of flayed Expressionism. In contrast to this evolution, the duets of young lovers, the only oxygen bubbles in this stale atmosphere, are becoming more and more elegiac, passionate as those of Tristan and Isolde - they will end by unite in death , suicidal at the bottom of a cubicle. The affects and the theater are also in the pit, where an orchestra rumbles to the heady powers suggestive, real mental decor of the room. Some interlude virtuosos also chant the narrative, like this vast chaconne in the form of a disturbing martial explosion which opens act II (beginning of the first night). Among these great symphonic ensembles, Ades slipped a guitar (probably to recall the Hispanic origin of his subject) and, above all, the Ondes Martenot, borrowed from Messiaen to represent the voice of the angel, that supernatural power humans. To which is added a volley of bells that welcomes the spectators as to the representation of a sacred mystery. No doubt to say that everything can begin again, they will resound again at the end, while the chorus and the whole band intone a Libera me, repeating until the trance the same musical motif. Composer Thomas Adès studied piano and composition at the Guildhall School of Music in London with Paul Berkowitz and Robert Saxton respectively. He then studied writing at King's College in Cambridge and was awarded the prize in 1992. He was noticed by the national press in January 1993, on the occasion of his opening recital at the Purcell Room in London and the creation of his work Still Sorrowing; he was then propelled to the British music scene and soon acquired international fame. From 1993 to 1995, he was composer-in-residence at the Hallé Orchestra, resulting in works such as The Origin of the Harp (1994, Rostrum Young Composer Award) and The Premises Are Alarmed, Bridgewater Hall in 1996. Living Toys, a work of reference that is now frequently played and whose recording at EMI is the recipient of the Gramophone Editor's Choice Award, was presented at the Barbican Center in London under the direction of Oliver Knussen in 1994. The same year, Sonata da Caccia (BBC commission for the Birmingham Contemporary Music Group) and Arcadiana (Elise L. Stoeger Award in New York in 1998). Cambridge Festival by the Endellion Quartet. In addition to the numerous awards he received for his works, he was awarded the prestigious Salzburg Easter Festival and Ernst von Siemens prizes for young composers in 1999, as well as the Hindemith Prize in 2001. His first opera Powder her Face, commissioned by the Almeida Opera for the 1995 Cheltenham Festival, is performed around the world and broadcasted on Channel 4. The second commissioned by The Royal Opera House, The Tempest from Shakespeare's play an ambitious work where Adès affirms a clear clarification of his style, created in Covent Garden in London, critically acclaimed in 2004 and winner of the Royal Philharmonic Society of London Prize in 2005. After the release of Asyla (Prize of the Royal Philharmonic Society of London in 1997, Mercury Music in 1999 and Grawemeyer in 2000), the symphonic field was enriched with a Violin Concerto (2005) created at the Berlin Festival and the BBC Proms European Chamber Orchestra, and a second orchestral work for Simon Rattle, Tevot (2007), commissioned by the Berlin Philharmonic and Carnegie Hall. More recently, Polaris was created by the New World Symphony at Frank Gehry Hall in Miami in January 2011. Conductor and pianist, Thomas Adès is the author of about forty scores that met a large audience. Several festivals have given him portraits: Musica Nova in Helsinki in 1999, the Salzburg Festival in 2004, the Présences Festival of Radio France in 2007 and "Traced Overhead - The Musical World of Thomas Adés" at the Barbican Center in London in 2007, He is the artistic director of the Aldeburgh Festival since 1999, where he performed in 2007 in these different facets. Carnegie Hall in New York invites him to hold the Richard and Barbara Debs Chair and presents him as a composer, conductor and pianist for the 2007- 2008 season. Thomas Adès claims an approach to the composition and resources of new technologies deeply entrenched in tradition, without pouring into post-modern hedonism. Eminently learned, expressive and sophisticated, his music refers to the past as well in its formal construction as through literal quotes or interpolations of multiple materials.