First opera never addressed by the new boss of the Avignon Festival, the masterpiece of Richard Wagner is the subject of a story rewritten by the Portuguese director.
by Marie-Aude Roux (Nancy, Special Envoy)
Tiago Rodrigues is an Aede. This is evidenced by the first opera that he stages, at the National Opera of Lorraine, in Nancy: on the music and the text of the Tristan and isolated by Richard Wagner, the new boss of the Avignon Festival wrote a long story , Elegy of love and death. Tristan and isolated are no longer the heroes of a tragedy but the incarnations of a myth that preexists them. Their identity itself was lost. He is “the sad man”, she “the sad woman”. So sad that the song becomes derivative to them. Before the prologue, two dancers wander in silence within a huge white archive library in the shape of a hemicycle. Dressed in blue blouses, these zealous “translators” extract from it with protective gloves of large white panels (some 947), both stories and mantras, which counterpoint the Wagnerian discourse. Chance of the calendar, this device concentrates the glossatory principle developed on this same Tristan and isolated in 2005 by the videos of Bill Viola and the staging of Peter Sellars at the Opera Bastille, production currently taken up until Saturday, February 4.
The audacity of Tiago Rodrigues (some will see a avoidance) is perilous but attractive. From this silence coated with words is born the music of the prelude that Sofia Dias and Vitor Roriz choregraphient face to face – looks, attraction, golden light, hands that are grazed, mental flight of lovers. A strange poetry sets in, which the bodies in motion embody, themselves punctuated by action. Almost muddled precipitation of the barely readable signs while the boat, which brings back isolated from Tristan dying, is finally in sight. Sometimes the word is subject: death philtre, love philtre, or sword, that, chipped, which has ocis in combat the fiancé of isolated, that which will kill the Melot traitor, as well as the helpless Kurwal, After having deadly injured Tristan. Sometimes the “Mutic Recident” joins the singer.
These are moments of irresistible compassion, as when the dancer embers a Tristan of pain gradually won by the shadow of death, which will see his corpse covered with white blades of the story. Sometimes Tiago Rodrigues seems to be moving away. Perhaps it quips at low noise, nothing is certain, on the overflow of words (to which it brings its own ecot), the too much music, the too much love, the time-consuming love. As in music, it creates leitmotifs, introduces the parable, inviting Wagner to the universal.
The text of the singers is not subtitled, but The writing of Tiago Rodrigues Ag It as its shadow range or even a metalanguage which absorbs without dissolving Wagnerian prosody, draws other coherences, rid of amphigourism and rehashing, develops a new vision. Does she make a staging in the literal sense? It offers a path and a literary images capable of stirring the critical narration of what is playing. By putting the spectator at the heart of the show, she propagates and fights both the grip and the Wagnerian company in an emotional dialectic.
You have 49.38% of this article to read. The continuation is reserved for subscribers.