Didon & Énée (de F. Nicolas - 2014')
Étude chorale (16') pour 3 voix et 2 instrumentistes
créée le 23 avril 2014 à Belgrade par le Construction Site
Ana Radovanović, mezzo-soprano
Vladimir Dinić, baryton
François Nicolas, récitant
Rastko Petrović, percussions
Neda Hofman, piano
Libretto
The work explores a single moment in the mythic love between Dido and Aeneas: that of their separation, where Aeneas furtively leaves Carthage to return to his quest to find a site to refound Troy.
The piece concentrates on the scene made by Dido in front of her lover preparing his flight. She produces a confrontation bewteen a woman displaying love in the central foyer of existence and a young man inquiring into a justice that he knows he should re-establish somewhere without knowing in what exactly it consists.
Between feminine love and masculine justice, there is no synthesis here but the hard truth of a disjunction. The first word of the libretto is “Listen,” the last is “separation” : in sum, the point is to hear the “dismemberment” between Dido and Aeneas, but equally between the lingual heterophony of the voices (simultaneously mobilising three different languages) and the musical heterophony of the instruments.
Choral Study
Overall, the work is composite. It deploys itself according to two simultaneous faces, the one musical, the other lingual. In doing this, it neither “sets a text to music” (in assimilating it into music, as in lieder or opera) nor does it “musically accompany” a text (by supporting the text or acting as décor, as in melodrama) but interweaves two heterogeneous faces coexisting in a relatively autonomous manner. In other words: a heterophony between two types of heterophony: one lingual, the other musical.
This work is in this way the study (in the musical sense of the term) of rapports of a new type between an instrumental music and a speaking choir that we could call “Babelian.”
In doing this, is this a story of love between a text and a music, a story of justice between them (does the music try to do justice to a text?), of a separation between its two possible rapports? At the very least, it is a choral study, an experiment with a rapport between words and music that makes the rapport between love and justice resonate, separating “Dido and Aeneas.”
créée le 23 avril 2014 à Belgrade par le Construction Site
Ana Radovanović, mezzo-soprano
Vladimir Dinić, baryton
François Nicolas, récitant
Rastko Petrović, percussions
Neda Hofman, piano
Libretto
The work explores a single moment in the mythic love between Dido and Aeneas: that of their separation, where Aeneas furtively leaves Carthage to return to his quest to find a site to refound Troy.
The piece concentrates on the scene made by Dido in front of her lover preparing his flight. She produces a confrontation bewteen a woman displaying love in the central foyer of existence and a young man inquiring into a justice that he knows he should re-establish somewhere without knowing in what exactly it consists.
Between feminine love and masculine justice, there is no synthesis here but the hard truth of a disjunction. The first word of the libretto is “Listen,” the last is “separation” : in sum, the point is to hear the “dismemberment” between Dido and Aeneas, but equally between the lingual heterophony of the voices (simultaneously mobilising three different languages) and the musical heterophony of the instruments.
Choral Study
Overall, the work is composite. It deploys itself according to two simultaneous faces, the one musical, the other lingual. In doing this, it neither “sets a text to music” (in assimilating it into music, as in lieder or opera) nor does it “musically accompany” a text (by supporting the text or acting as décor, as in melodrama) but interweaves two heterogeneous faces coexisting in a relatively autonomous manner. In other words: a heterophony between two types of heterophony: one lingual, the other musical.
This work is in this way the study (in the musical sense of the term) of rapports of a new type between an instrumental music and a speaking choir that we could call “Babelian.”
In doing this, is this a story of love between a text and a music, a story of justice between them (does the music try to do justice to a text?), of a separation between its two possible rapports? At the very least, it is a choral study, an experiment with a rapport between words and music that makes the rapport between love and justice resonate, separating “Dido and Aeneas.”
Category
🎵
Musique