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La Fura dels Baus investigates Wagner's suicidal love

Alex Ollé and Josep Pons immerse themselves in the excess of ' Tristan and Isolde ' in the Liceu

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La Fura dels Baus investigates Wagner's suicidal love

"What if y hadn't taken potion ...?" This is Alex Ollé, scenic director of La Fura dels Baus. It refers to Tristan and Isolde, Wagnerian lovers who se days give life Stefan Vinke and Iréne Theorin in Liceu Barcelona until December 15. "But it is that y take it ..." responds Josep Pons, musical director. And from re arises that delusion without possible solution between Eros and Tanatos that changed forever history of music.

Two months of rehearsals, conversations and three representations of it at cost, have not fulfilled ir curiosity. They keep trying to delve into heart of this fierce, revolutionary, savage Opera. The one that starts all paths that want to follow, one that closes a time and opens future, which anticipates Freud and contemporary psychology through Schopenhauer, which leaves in air that constant restlessness that provokes uncertainty ...

The night, spheres and accursed influx of moon and sea. The one that splashes eternal love and leaves for darkness desire without possibility of satisfaction. The one who investigates and breas anxiety and mystery, which breaks and at same time begins, with five notes, all paths of Future Music: Tristan and Isolde, that masterpiece. It is second incursion of Pons in Wagnerian world in its stage as musical director of Liceu, after having culminated tetralogy of ring of Nibelung four preceding years. And also second of Ollé, after Dutchman errant, although his companions of Fura-with Carlus Padrissa as Wagnerian of group par excellence-have signed some more, case of ring of Nibelung and Parsifal. "Wagner leaves us because it constantly develops a symbolic point of view, nothing narrative in dramaturgy." "It's in music where we should look for images."

Pons opened to La Fura horizon of music and opera in late Nineties in Granada, when he was head conductor of city Orchestra. It was with Atlantis, of failure. Today y converge both on Wagner. A world whose bright, dark side wants to travel. The addiction, in case of Pons, lasts. "More with a work thus, at once grandiose and chamber, which connects 50 years before with twentieth century, which transit after Alban Berg, Ligeti, Debussy, Mahler, Shostakovich ...".

surrendered to Iréne Theorin

It is second time that great soprano Wagnerian Iréne Theorin sings Isolde in Liceu. The first was in season 2012-2013, concert version, and now has done so under scenic direction of Alex Ollé. But it wasn't his only role. Toger with Josep Pons, Swedish singer enlisted in ring of Nibelung that musical director of Lyceum launched for four consecutive years with montage of Robert Carsen. Theorin was part of distribution of Valkyrie, Siegfried and The Twilight of gods. Always with public of Barcelona surrendered to its imposing line of song. She is current queen of German repertoire at Liceu. And that's a lot to say for a ater eminently Wagnerian.

Full of enigmas and certainties. Populated by a kind of vampiric lovers who should not reach light. "Hence that dim, grayish hue, in shadows, black and white, which is illuminating and hiding that sphere with two faces." The hope and uncertainty. "that of reality and desire," says Alfons Flores, set designer.

An opera with a serious difficulty for any stage director: it lasts four hours and re is hardly any action. "It's pure reflection." "The challenge is to overturn whole plot about introspection of characters and make it short." For that also plays its role music. A score that is real thriller. "It gives No breath." "The transparency of sound and orchestral must be absolute, but you run risk of creating gibberish," says Pons.

It is hatched around what Wagner considered his ideal of love. The inspiration was provided n by Mathilde Wesendonck, who also dedicated a lieder cycle. He was wife of a banker who gave shelter to him and his whole family in a time of trouble. Wagner was paid Engañándole with his wife, without just dissimulation face husband and his own wife.

So sublime and so miserable. "Visionary and no trust," says Pons. Astonished also, same as Ollé, to verify that opera treats several of aspects that are a challenge of modern psychology: "That's what experts tell me." The bond and longing. Tristan is born and his mor dies as a result of childbirth. Then he will seek to repeat that cycle all his life. "So he knows that if he consecrates himself to love he must drag everything to end," he says. "I was born to burn with desire and die", Tristan sings in a passage of opera. Your destiny is to fulfill it.


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