Like-minded friend: Debussy

Tonight I found a somewhat concurrent / like-minded friend in Debussy when reading his views on the opera form:

Looking back in 1902, Debussy explained the protracted genesis of his only finished opera: "For a long time I had been striving to write music for the theatre, but the form in which I wanted it to be was so unusual that after several attempts I had given up on the idea." 

Debussy was already formulating a new conception of opera. In a letter to Ernest Guiraud in 1890 he wrote: "The ideal would be two associated dreams. No time, no place. No big scene [...] Music in opera is far too predominant. Too much singing and the musical settings are too cumbersome [...] My idea is of a short libretto with mobile scenes. No discussion or arguments between the characters whom I see at the mercy of life or destiny."

source: WIKIPEDIA

I myself have only recently overcome my stubbornness and pouting regarding the operatic form (without ceasing being critical). To have the earning to write dramatic vocal music for stage, but not finding a place for your ideas within the present genres in society can be quite frustrating and confusing when you dont have the experience or knowledge to untangle your ambitions from reality and finally become organised ... I´m getting there.

I have not seen Debussy´s "Pelléas et Mélisande" live (his only finished opera) but I have heard the piece,

conducted by Pierre Boulez (which means it´s either the ´69 in Covent Garden or the Welsh National Opera in ´92 - as far as I know). Despite being in agreement on a few ideological aspects, I cant say that our musical interpretation/approach is essentially the same or similar when it comes to setting libretti, but I do enjoy his somewhat effortless sonic sceneries.

Stephen Upshaw

Stephen Upshaw performing my piece "Bráð: A Glacier´s Requiem" for solo viola. Sadly, I could not attend the premiere but I congratulate Stephen on this project which was very interesting to say the least. More here: http://parasol-unit.org/spring-song-cycle 

Tuesday 26 March 2013, 7pm & 8pm

Building upon classical music traditions surrounding Easter and celebrating the newness of Spring, Parasol unit is delighted to present Spring Song Cycle.

This cycle of newly commissioned string 'songs' by 6 young composers offers a unique set of responses to particular works in the exhibition. Violist Stephen Upshaw will perform the cycle, guiding the audience through the space for this intimate live event.

Songs:
Benjamin Graves - 'NocturNe' (In response to BROKEN CIRCLE)
Helgi Ingvarsson - 'Bráð - A Glacier´s Requiem' (In response to Recaptured from the collective)
Ruaidhri Mannion - 'a shocrú' (In response to Untitled)
Philip Venables - 'Untitled' (In response to STAR/TING/POINT)
Marc Yeats - 'hȳran' (In response to Untitled)
Raymond Yiu - 'Reach Out' (In response to Untitled)

Stephen Upshaw (performer)
Since making his concerto debut at 17, violist Stephen Upshaw has won several competitions and played in festivals around the world including IMS Prussia Cove, Musica Nova Festival (Finland) and the Salzburg Chamber Music Festival (Austria). In recent seasons, recital and chamber music engagements have brought him to Boston’s Jordan Hall, London’s Barbican Centre, Wigmore Hall and Royal Opera House, Weill Recital Hall at Carnegie Hall and Vienna’s Schoenberg Center. A recognized interpreter of contemporary music, Stephen has given numerous national and international premieres working closely with composers such as John Adams, Helmut Lachenmann, George Benjamin, Julian Anderson and Christian Wolff. He holds degrees from the New England Conservatory of Music and the Guildhall School of Music and Drama, where he was elected a Junior Fellow. www.stephenupshaw.com

Spring Song Cycle: Stephen Upshaw

Stephen Upshaw, violist, performed "Bráð: Glacier´s Requiem for solo Viola" a new short piece by me at the Parasol Unit gallery in London yesterday evening. I could not be at the event myself but the from what I hear it was a pleasant evening and Stephens playing was at a very high standard. There was a recording made which I hope I´ll be able to hear soon.

Tablau Vivant

I´m studying Manet´s "A bar at the Foiles-Bergére" and "Tableau Vivant"s. I know this is not really a Tablau Vivant, but still a nice version.

"An operastic day" (diary entry)

What an "operastic" day yesterday.

First I went to the conference "Sounding out: Stage notes" at the Royal Opera House where Hue Watkins, Julian Philips, Martin Crimps, Judith Weir and others talked about the contemporary opera, the creative process, the ups and downs, how to get a foothold in the tough world of opera-making.

Then a coffee in Covent Garden while listening to all the necessary opera classics for soprano performed.

The climax was going with Hringur (aka´d "Ringo) to see "Written on Skin" and that´s a show I have to highly recommend! "Award-winning director Katie Mitchell brings a dark and passionate tale from composer George Benjamin and author Martin Crimp to the stage"

I´d love to see it again if I get the chance.

http://www.roh.org.uk/productions/written-on-skin-by-katie-mitchell

George Benjamin

"Written on skin" - at the ROH