Caixinha de Música
domingo, 1 de dezembro de 2013
segunda-feira, 4 de março de 2013
Parsifal
By ANTHONY TOMMASINI
Published: February 17, 2013
Dark Nights of the Soul in the Kingdom of the Holy Grail
‘Parsifal’ at the Metropolitan Opera
Music Reviewhttp://www.nytimes.com/2013/02/18/arts/music/parsifal-at-the-metropolitan-opera.html?pagewanted=all&_r=0
In the stage directions for Act I of “Parsifal,”
set near the sanctuary of the knights of the grail in a mythical region of
medieval Spain, Wagner writes that the scene depicts a forest with a deep-set
lake in the background. This glade should be shady and solemn, he indicates,
but not gloomy (“doch nicht düster”).
The Metropolitan Opera’s
much-anticipated new production of “Parsifal,” which opened on Friday night, is
pervasively and intentionally gloomy. In his company debut the French Canadian
director François Girard, who has done acclaimed work in film, theater and
opera, presents “Parsifal” in a postapocalyptic
setting. There is not one tree or tuft of grass, not even a patch of
moss. Instead two barren, sun-baked, dirt-gray mounds are divided by a river
bed with just a trickle of flowing water, sometimes thick with blood. In the
background videos depict dark clouds, swirling mists, and, sometimes, cosmic
images of strange solar systems and ominous planets.
Wagner’s knights are enduring
a spiritual crisis. Their leader, Amfortas, is racked with guilt and crippled
by a painful wound that will not heal. In this production, with sets by Michael
Levine and costumes by Thibault Vancraenenbroeck, “Parsifal” becomes a
harrowing, metaphorical reflection of the knights’ inner doubts and
hopelessness.
Wagner’s stage directions are
hardly sacred texts. And if any work invites a strong interpretation it is
“Parsifal,” among the most metaphysical, ambiguous and profound, if
inexplicable, operas ever written. But the gloominess of this production can
become oppressive.
There is much to admire in Mr.
Girard’s thoughtful and intrepid staging, full of striking imagery. The
blocking of the chorus, extras and dancers is theatrical and elegant. (Carolyn
Choa is the choreographer.) The Met has assembled about the best “Parsifal”
cast available today: the charismatic tenor Jonas Kaufmann sings the title role; the great
bass René Pape is the veteran knight Gurnemanz, a
role he owns; and the baritone Peter Mattei as
Amfortas, in terrific voice, dares to bring out the rashness and inner desires
of this stricken leader.
The conductor Daniele Gatti draws diaphanous playing from
the great Met orchestra and captures the shifting currents of this richly
chromatic and complex score. Incredibly Mr. Gatti conducts the work, some four
and a half hours of music, from memory. I did miss the depth, eerie tension and
transcendence that James Levine has brought to this opera, one of his great
achievements. At times Mr. Gatti’s slow tempos let the long arc of the music
grow slack. But at his best he was inspired, and his immersion in the piece is
palpable.
For all its imaginative
directorial strokes and seriousness, however, this “Parsifal” is a downer.
Wagner’s suffering grail knights may fear they are losing touch with God. But
in most stagings at least they are connected to nature, and its renewing cycles
give them some hope.
When we meet the wandering,
clueless Parsifal, he has just killed a swan from the nearby lake with his bow
and arrow. Upbraiding Parsifal, Mr. Pape’s Gurnemanz sings with a mix of
chilling reproach and baffled grief. Authority is built into Mr. Pape’s powerful,
deep voice and crisp, natural diction. Still, it is impossible to imagine a
swan going anywhere near the wasteland shown here.
There are images and elements
of this new “Parsifal,” a co-production with Opéra National de Lyon and the
Canadian Opera Company, that will stay with me. During the orchestra prelude to
Act I the audience in the house can see itself briefly on a black reflective
screen. Soon, behind that screen, we see people sitting in rows of chairs,
looking back at us. The men among them rise, take off their shoes and socks,
ties and jackets, then form a tight circle, becoming the grail knights,
stand-ins for us in the audience. It is a poignantly human image.
The women who had been seated
move to the rear of the stage, where they hover under veils and look on as
things unfold. There has long been a feminist critique of “Parsifal,” since the
only female characters are the ageless temptress Kundry, who tries to expiate
her sins by conveying messages for the knights, and those who serve as agents
of the sorcerer Klingsor, trying to lure stray knights into sin. But in this
production there are almost always women nearby, silent but ready and able to
aid in the resurgence of the community, if only the knights will let them.
Mr. Kaufmann conveys
Parsifal’s awkwardness at his first appearance, looking like a
slumped-shouldered and gawky young man. Could he be the innocent fool who, it
has been prophesied, will come to restore faith to the knights? Or is he, as
Gurnemanz suspects, just a fool?
Mr. Girard’s staging of Act
II, set in Klingsor’s castle, is brilliant. Even people who loved the lush
forest greenery of Otto Schenk’s traditional 1991
production for the Met, which this one replaces, tended to concede
that the Schenk Act II was silly: a cartoonish and cluttered depiction of an
evil sorcerer’s abode.
Mr. Girard gives us a surreal
castle with cliff walls over which blood continually rushes (the work of the
video designer Peter Flaherty). The characters also slosh through a shallow
pool of blood covering the floor. In piercing Amfortas’s side with the sacred
spear, which Amfortas always carried, Klingsor caused the wound that will not
heal. So blood metaphorically permeates his realm.
The strong bass-baritone Evgeny Nikitin
makes a sniveling, nasal-tone Klingsor. A roster of female dancers, long hair
draping over their faces, all holding spears, stand eerily still, awaiting
Klingsor’s orders. He calls them into action as seductive flower maidens. But
forget Wagner’s images of flowers and finery. These temptresses are wily and
balletic. The Met choristers sing this sensual music with alluring lyricism.
The suggestion in the opera
that in one of her previous incarnations Kundry might have been Parsifal’s
mother is enhanced here. The soprano Katarina Dalayman
brings a gleaming voice and sultry phrasing to her performance and plays Kundry
in this scene like an earth mother.
When Mr. Kaufmann shows up, he
is pounced on by the flower maidens, who tear at his clothing, leaving him bare
chested. But when Kundry arrives, now a mysterious beauty, Mr. Kaufmann’s
Parsifal instinctively covers his body with his shirt, sensing something
dangerous about this woman’s leering interest.
At 43 Mr. Kaufmann is in his
glory, equally adept in German,
Italian and French repertory. Handsome and limber, he is a natural
onstage. The baritonal colorings of his sound, his clarion top notes, the blend
of virility and tenderness in his singing, his refined musicianship — all these
strengths come together in his distinctive Parsifal.
Mr. Girard draws affecting
performances from the principals in the transfixing final act, when, after
years have past, Gurnemanz, now wiser, and the silent Kundry tend to the
returning, beaten-down Parsifal, anointing his head and ritualistically bathing
his feet. Still, for another long spell, while hearing some of the most sublime
music ever written, we must look again at those grim, barren mounds from Act I.
The final image, though, does
offer a bit of hope. The knights, finally joined by the women who had been only
observers, kneel to pray as the chalice is lifted by the wizened Parsifal, now
the leader of the community. Still, what future is possible given the
environmental desolation?
“Parsifal” runs through March
8 at the Metropolitan Opera House, Lincoln Center; (212) 362-6000,
metopera.org.
A
version of this review appeared in print on February 18, 2013, on page C1 of
the New York edition with the headline: Dark Nights of the Soul in the Kingdom
of the Holy Grail.
quinta-feira, 29 de novembro de 2012
Passion Moment
Coral UFJF - "Cantorias "
Regência: Guilherme Augusto de Oliveira
"Rouge e Batom" - Jorge Alves e Tuka - Arranjo:
André Pires
Teatro Pró Música - 28.11.2012
segunda-feira, 30 de julho de 2012
"Bicho Papão"
“Um medo ordinário: pesquisando a ansiedade na performance do cantor lírico”: defesa de mestrado pela soprano Janette Dornellas.
ÍNDICE
1 – APRESENTAÇÃO
2 – DESENVOLVIMENTO
2.1 – Introdução
2.2 – Aspectos psicológicos
2.3 – O professor de canto e o medo do palco
2.4 – Cruzamento de dados3- CONCLUSÃO4- REFERÊNCIASD BIBLIOGRÁFICAS
5- APÊNDICES
5.1 – Questionário
5.2 – Entrevistas
5.2.1 – Ruth Staerke
5.2.2 – Juremir Vieira
5.2.3 – Rosana Lamosa e Fernando Portari
1 – APRESENTAÇÃO
Um medo ordinário: pesquisando a ansiedade na performance do cantor lírico
Artigo expandido apresentado no curso de Mestrado da Escola de Música e Artes Cênicas da Universidade Federal de Goiás para obtenção do título de Mestre em Música.
Área de Concentração: Música, Criação e Expressão.
Linha de pesquisa: Performance Musical e suas interfaces.
Orientador: Prof. Dr. Ângelo Dias.
O medo é a emoção básica que nos protege e que surge como uma sensação desconfortável quando pensamos estar em perigo. Sem este sentimento, nossa vida poderia correr sérios riscos. Podemos dizer baseados nisso, que é normal sentir medo. Mas, e quando o medo se torna um sentimento paralisante ou que causa sofrimento extremo, a ponto de prejudicar nossa vida profissional? Este trabalho busca pesquisar o grupo específico dos cantores líricos e sua relação com o medo e a ansiedade antes de uma performance, seja ela em concerto, recital ou ópera. O levantamento de experiências pessoais de cantores líricos profissionais sobre como os mesmos lidam com o medo do palco pode ajudar a desmistificar a ansiedade de futuros profissionais, durante seu processo de formação musical e artística. Não se pretendem encontrar soluções que busquem eliminar totalmente as sensações de medo e ansiedade, mas apenas demonstrar que estes sentimentos são parte da vida e que podem ser compreendidos e seus efeitos negativos minimizados através do conhecimento e da pesquisa. Para embasá-la, pesquisamos autores especialistas em ansiedade cênica, como o espanhol Guilhermo Dalia, e autores que falam sobre aprendizagem musical e canto lírico, como Barry Green, Sonia Ray, Alberto Pacheco e Jeromy Hines. Também fizemos entrevistas fechadas e abertas com profissionais do canto, buscando experiências e relatos diferenciados de como surge o medo, como lidar com a ansiedade e como podemos transformar estes sentimentos em energia criadora.
O medo é a emoção básica que nos protege e que surge como uma sensação desconfortável quando pensamos estar em perigo. Sem este sentimento, nossa vida poderia correr sérios riscos. Podemos dizer baseados nisso, que é normal sentir medo. Mas, e quando o medo se torna um sentimento paralisante ou que causa sofrimento extremo, a ponto de prejudicar nossa vida profissional? Este trabalho busca pesquisar o grupo específico dos cantores líricos e sua relação com o medo e a ansiedade antes de uma performance, seja ela em concerto, recital ou ópera. O levantamento de experiências pessoais de cantores líricos profissionais sobre como os mesmos lidam com o medo do palco pode ajudar a desmistificar a ansiedade de futuros profissionais, durante seu processo de formação musical e artística. Não se pretendem encontrar soluções que busquem eliminar totalmente as sensações de medo e ansiedade, mas apenas demonstrar que estes sentimentos são parte da vida e que podem ser compreendidos e seus efeitos negativos minimizados através do conhecimento e da pesquisa. Para embasá-la, pesquisamos autores especialistas em ansiedade cênica, como o espanhol Guilhermo Dalia, e autores que falam sobre aprendizagem musical e canto lírico, como Barry Green, Sonia Ray, Alberto Pacheco e Jeromy Hines. Também fizemos entrevistas fechadas e abertas com profissionais do canto, buscando experiências e relatos diferenciados de como surge o medo, como lidar com a ansiedade e como podemos transformar estes sentimentos em energia criadora.
Todo o conteúdo gentilmente disponibilizado pela autora no
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