Opera as a mirror of the world
We appear to be approaching the end of an epoch. What shape will the new epoch take? Where do we see it emerging? What can opera tell us, what harbingers does it bear?
Opera tells us first of all that art is revealing. In George Benjamin and Martin Crimp’s new opera, which will premiere in Aix-en-Provence, the work of an artist-illuminator bursts into the daily routine of a couple, turning the life of the man and the woman upside down and compelling them to embark on a journey of no return that stretches beyond the confines of social status.
Mozart similarly demonstrates how desire cuts across social classes, breaching the codes and conventions of the extended families portrayed in Le Nozze di Figaro and La Finta Giardiniera. Where there is desire, there are also relations of power and seduction, sublime abandon and ludicrous circumstances; all this makes these two works as modern and relevant as when they were first performed. One feature of such modernity lies in the role played by women. Let us listen to Suzanna, the Countess, Sandrina, Arminda and Serpetta: do they not carry the energy, grace and creativity, the empathy and the dynamic impulses that together constitute an alchemy fit to change the world?
Looking through the mirror of opera, we are struck by how a work such as David et Jonathas, which is three centuries old and inspired by one of most ancient texts ever written, the Bible, still speaks to us about our private lives and the world around us. Warned about his imminent fall, King Saul descends into a murderous frenzy. Under the pretext of saving his relatives, he leads them to their deaths. Marc-Antoine Charpentier’s opera takes place against a backdrop of tribal wars, alternating alliances and brutal identities… There is no need to explain the contemporary resonance of such a work at a time when almost everywhere and notably around the Mediterranean, ethnic and religious conflicts continue to leave deep wounds while dictators cling to their teetering thrones…
Jean Michel Bruyère explores the social fracture that can be perceived everywhere in Europe. He chooses opera, then displaces and reinvents its form to continue his quest, moving towards recent history (that of the Black Panthers) and the present in deprived urban neighbourhoods.
L’Enfant et les sortilèges brings a positive note. True, the child destroys objects and tortures animals. Yet through this quasi-initiatory narrative he gains awareness of his mistakes and discovers that most precious of qualities: empathy.
The Festival’s concert programme echoes and prolongs this extremely varied collection of masterpieces. The concerts focus on French music, with which George Benjamin’s music bears strong affinities. Ravel of course, but also Charpentier, Debussy, Satie and Messiaen occupy a prominent position in the programme. We are also delighted to promote the works of living composers such as Henri Dutilleux, Betsy Jolas and other young creators. This year the Académie master classes will offer the opportunity to penetrate into their worlds.
A festival is formed by a multiplicity of communities, like circles which intersect one another: the community of artists which provide substance, that of the sponsors and that of the hundreds of spectators, who during a concert, performance or lecture share a same emotion, a same insight.This kind of experience appeals to our deepest humanity. It is for us, more than ever, indispensible.
Bernard Foccroulle
General Director
