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Calixto Bieito launches a scream of horror against rape in ' Die Soldaten '

The stage director returns to the Royal Theatre with Zimmermann's opera which represents a group aggression. "The orchestra symbolizes the army," says the artist

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Calixto Bieito launches a scream of horror against rape in ' Die Soldaten '

When he was eight years old, Calixto Bieito (Miranda de Ebro, 1963) nearly drowned. "I sank into a puddle. I remember darkness, I did not see that light that y say appears when you are near death. All dark. Not even anguish, no trauma. Darkness. " Perhaps he has spent his entire career looking for a way out since n... There are holes in life that catch you without being able to put you on guard. Ors lead you to sing a cry of despair. Like one that hopeless and broken Marie looses in Die Soldaten, opera of Bernd Alois Zimmermann that Bieito premieres this Wednesday at Teatro Real. "It is cry which throws broken purity to all mankind." An echoing howl against hammer of unaided humiliation, of collective barbarism of twentieth century, which also has no good bearing, once frontier of this XXI has been passed.

Works such as Die Soldaten, reveal it. It was only opera composed by Zimmermann, premiered in 1965. But experiment of rupture with which it was conceived, needed clarity. A singing forty to his far, who played with idea of conceiving something impossible to see represented. The composer presumed to be oldest of avant-garde in his generation. This was case in German city of Darmstadt when stirring potions for new music were simmering shortly after end of World War II.

In years I surpassed Stockhausen, Berio, Nono, Boulez... He had been a soldier on fronts of Russia and France. He ended up with lead in lungs and in blood. A lead that was accentuated by shame of having been enlisted obligatorily with Nazis with only 21 years. I knew claws of abyss. To encompass it, Zimmermann needed to destroy Aristotelian conventions of work of art: place, Space time. They had to give up linear and look for a simultaneous chronology. This is why he conceived this opera in which actions coexist in a macabre dance that combines clock and territory. A challenge for anyone who dared to stage it.

But Bieito accepted it, as had been done before, among ors, Harry Kupfer and recently Carlus Padrissa, of La Fura dels Baus, in Cologne. And in that clairvoyance with which Bieito almost always illuminates atre from its abysses, on that merry-go-round where it challenges with search of a light to savagery or crystallizes it atavistic it as a warning against our own monsters, it found an exit door.

The triumphant return to Madrid

Madrid had long been anxious for Calixto Bieito. It has been a glorious decade in which it has become one of greats of World atre without appearing only by capital. He was able to make landfall in royal with Gerard Mortier, but project y cherished toger was interrupted by death of Belgian agitator. The same atre opens its doors again-after that controversial Wozzeck of 2008-with several appointments. At two this year will follow Angel of Fire, Prokofiev and Great macabre. There will be two shows of recent successes in his career that include Wagner's Tannhäuser that he has done in Flanders, Juive, in Munich, Tosca in Oslo and recent montage with passion according to San Juan that he has devised for Arriaga de Bilbao. After Die Soldaten and premiere in United Kingdom anatomy of melancholy, returns to Zurich to mount L'incoronazione di Poppea (Monteverdi), armed with biography of Paolo Fabri (edited by Turner) and that wonderful essay by Ramón Andrés on lament Della Ninfa (Cliff) that is giving away for those worlds. This is most recent agenda of a man who since he left Romea Theatre in Barcelona, where, "without being very conscious," he says now, broke molds that led him to roll around world, his career has not ceased to amaze.

Calixto Bieito, at Teatro Real. Javier del Real EL Pais

He decided to place orchestra-120 musicians, with specific sections of jazz and dozens of percussionists detonating drums as cannons-on stage. "Represents Army. It's part of dramaturgy, "he says. And so, this test of Zimmermann is not only surpassed, but is placed as a reference for future visions on date that is fulfilled centenary of an author who ended up committing suicide at 52 years.

Bieito has carefully entered it with Pablo Heras-Casado, Musical director: "You can't let yourself be dragged". Not only has he been approached by Zimmermann, he has also been seduced by admiration and deep knowledge of work of romantic Jacob Lenz, author of work on which Die Soldaten is based. Spider The drama of this girl subjected to constant humiliations of a battalion. Mocked, denigrated to category of simple object, of mere sewer through which flows drain of frustration and Mirror of death... A being pierced by stench of derrengados bodies, beasts without conscience, of soldiers, who howls ir evil and is placed in full present, between echo of herd: "That has been disgusting, really disgusting," says Bieito. Little more. He knows that by seeing him, his speech will multiply effect on an audience that he expects sensitized.

His return to Real has been double this season. He had not returned from Wozzeck (Alban Berg) that he directed with Josep Pons 10 years ago. It's a coherent reunion. In fact, Die Soldaten is considered Wozzeck of second half of twentieth. His vision of Carmen inaugurated this season. But Bieito alternates premiere of Zimmermann's work with anatomy of Melancholy, by Robert Burton, who rehearses and debuts at same time in Birmingham. "A work that deals with anguish and fear of failing ors," he confesses.

The presence of Spanish director in scenarios around world grows and reaffirms in him a wide identity. "I always wanted to be a European director. And I multiply this feeling especially when I travel to United States. Increasingly. I believe in this utopia as an idea. I feel a perfect crossroads between romanticism, Central European culture and Spanish Baroque, he says.

He lives in Basel: "A place where airport has three different exits. German, French and Swiss. Isn't that a wonderful example of what we should aspire to? " There he breas air next to his house on Rhine and atemperando his nihilistic rage with a growing humanism with roots in Renaissance. "That if we consider that nihilism is not a humanism, which I think it is."

He fervently reads thought and poetry of those times. But he does it on his electronic devices: "It's over that we travel with 40 books to every place I work. A packed suitcase that would produce pinches. " Serena's activity with her return home. There he tries to sleep to recover lost tranquillity. "I need rest, but I am haunted by anguish. I'm not a doctor, but someone's responsible. I sleep badly. So lightly that I remember precisely every dream. "

The deficit nourishes its work, but sometimes also its distress. "Joy of a good life, appreciation and enjoyment, though sometimes it falls into pessimism. I never thought I'd go that far. But I have fulfilled that goal that I proposed. I keep a picture with Ingmar Bergman where I still had hair. I met and approached Strehler, Peter Brook, Wajda... If re is something I wanted to be summarized in that: Put me on his path. "

With one foot in Bilbao, now, where Arriaga Theatre project takes place. "My manager and my wife told me I shouldn't. Too much workload. But I arrived, and you know: The Gildas in bar of bars. The Txacoli... ". A magnetic and unexpected closeness with territory of childhood: Miranda de Ebro, from where as a child were often heading north in Seat 850 of his far. "That is my farland, because Rilke was right, farland is simply place where you grew up." The city Burgos where he spent first 15 years of his life before moving to Barcelona to, eventually, burst atrical scene. The place where he happily did not drown in that treacherous river, but from which he came out to fly high.


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