José María Sánchez-Verdú - Gramma, Jardines de la escritura (2009)
José María Sánchez-Verdú - Gramma, Jardines de la escritura
XLD Rip | FLAC+CUE+LOG | Cover | 52:26 | 186 MB
21st Century Classical - Contemporary Chamber Opera | 2009 | Anemos
XLD Rip | FLAC+CUE+LOG | Cover | 52:26 | 186 MB
21st Century Classical - Contemporary Chamber Opera | 2009 | Anemos
Simone Stock, soprano - Daniel Johanssen, tenor - Howard Quilla Croft, baritone - Tom Sol, baritone
Marta Rozsa, mezzo-soprano - Koichi Yoshitomi, tenor - Lisandro Abadie, baritone - Auke Kempkes, bass
Luzerner Sinfonieorchester - Rüdiger Bohn, conductor
TRACKS
Gramma, Jardines de la escritura (2006):
01. Introducción [02:13]
02. Thamos y Tot [08:59]
03. La flor del loto [04:36]
04. Arquitecturas de la memoria [11:45]
05. Jardines de Adonis [12:00]
06. El silencio de la escritura [05:08]
07. Libro de los jardines de la escritura [07:44]
Spanish composer José M. Sánchez-Verdú's opera Gramma, Gardens of Writing stretches the conventions of opera in several ways. First, there is a narrative scenario, but the singers do not necessarily articulate the narrative, leaving it to the audience to have already familiarized itself with the action described in the program notes. Second, the audience members are active participants, sitting at school desks with notebooks in which they are to write, and the performers are positioned above them on a metal grid, "like Marilyn Monroe on the New York subway grate." Although Sánchez-Verdú has at his disposal a full orchestra, four soloists, and chorus, he uses them so sparingly that the whole piece rarely rises above the dynamic level of very quiet chamber music. The piece is notable for its consistently quiet, cryptic mood; its tiny, isolated instrumental sounds; and vocal murmuring and whispering. The libretto draws on the works of authors as varied as Plato, Homer, Ovid, St. Augustine, Hugo de Saint-Victor, Dante, Saint John of Patmos, and the Bible.
From a 2006 Münchener Biennale review: "Hans Werner Henze initiated the Münchener Biennale to promote and explore the potential of music-theatre. It was therefore appropriate that in the year of his 80th birthday the final event virtually re-invented the genre. José Maria Sánchez Verdú defined his chamber opera, Gramma, for soprano, tenor, two baritones, speaker, vocal ensemble and 19 instrumentalists, as ‘gardens of writing’, but its subtle ambiguities embellished his metaphor with richer connotations.
The Muffathalle, a venue usually associated with ‘rock’ concerts, had been transformed into a classroom, a public library, or even – in view of the two monks in the cast – a monastery. Each spectator sat at a desk equipped with a book and a reading light. The singers, orchestra and conductor were arranged in pyramid formation overhead and were barely visible. There was no stage. It had been supplanted by the book, which was accompanied by a page explaining its role during the performance. When the reading lights were switched on, the spectators were invited to consult the book. When they were switched off, the spectators listened in contemplation. Thus, each spectator became an active participant in the work.
The work, devised by Sabrina Hoeltzer and Mirella Weingarten, combined the staging and libretto of Gramma. The words sung by the vocalists were extracted from various sources, including Plato’s Phaidros, Homer, and James Joyce’s Ulysses. In conjunction with illustrations of myths and fragments of the score, all the texts were concerned with memory, thereby reflecting the dispute between Theuth, who considered writing an aid to wisdom, and Thamos, who thought that relying on an external source would encourage forgetfulness.
The division of the music into six sections or ‘stations’ – each based on a different compositional process – dramatised the myths chosen to illustrate different facets of the central argument. Sánchez Verdú explored a rich palette of vocal and instrumental textures, so that the progress of the opera was characterised by the interplay between the sonic labyrinth which filled the hall, and the written labyrinth confronting each spectator. Not the least significant aspect of the work was that it reflected on the debate concerning the relative importance of words and music in opera.
In short, Gramma returned to the philosophical dimension of opera and posed questions for which there are no definitive answers. Yet it also suggested a new approach to listening to complex music. Sánchez Verdú relied on familiar techniques of the avant-garde, but created a challenging score which his colleagues developed into a unique theatrical experience."
X Lossless Decoder version 20110212 (127.0)
XLD extraction logfile from 2011-02-23 22:34:55 +0100
Luzerner Sinfonieorchester - Rüdiger Bohn / Gramma (2006), Jardines de la escritura
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