Jakub Józef Orliński, countertenor. New album: "Facce d'amore"

Jakub Józef Orliński, countertenor. New album: "Facce d'amore"
Jakub Józef Orliński, countertenor. New album: "Facce d'amore", Erato/Warner Classics, November 2019

Monday, December 31, 2018

Adam's Passion – A Performance by Arvo Pärt & Robert Wilson – Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, Tõnu Kaljuste – Michalis Theophanous, Lucinda Childs, Endro Roosimäe, Erki Laur, Tatjana Kosmõnina, Triin Marts, Trevor Mattias Sakias – Nyika Jancsó, Andy Sommer (HD 1080p)

Adam's Passion is the moving first collaboration between two "masters of slow motion who harmonize perfectly with each other" (Frankfurter Allgemeine Zeitung). In the spectacular setting of a former submarine factory, American director and universal artist Robert Wilson creates a poetic visual world in which the mystical musical language of the Estonian composer Arvo Pärt can cast its meditative spell. Three of Pärt's major works – Adam's Lament, Tabula rasa, and Miserere, as well as Sequentia, a new work composed especially for this production – are brought together here using light, space, and movement to create a tightly-woven Gesamtkunstwerk in which the artistic visions of these two great artists mirror each other.

The premiere took place on May 12, 2015 in Tallinn (with additional performances on the 13th, 14th and 15th of May). Orchestra, choir and soloists were conducted by Grammy award winner Tõnu Kaljuste, who had already premiered a number of Arvo Pärt's pieces. Including actors and background actors there were over 100 participants involved in this project.

Adam’s Passion

A Performance by Arvo Pärt & Robert Wilson

Music by Arvo Pärt
Stage Direction, Set Design and Lighting Concept by Robert Wilson

Arvo Pärt (b. 1935)

Sequentia (2014)

For string orchestra and percussion. Dedicated to Robert Wilson. World Premiere

Adam's Lament (2010)

For mixed choir and string orchestra. Dedicated to Archimandrite Sophrony

Tabula rasa (1977)

For 2 violins, string orchestra and prepared piano. Dedicated to Eri Klas, Gidon Kremer and Tatyana Grindenko

Harry Traksmann, violin
Robert Traksmann, violin
Marrit Gerretz-Traksmann, prepared piano

Miserere (1989/1992)

For soli, mixed choir, ensemble and organ. Dedicated to Paul Hillier and Hilliard Ensemble

Andrea Lauren Brown, soprano
Maria Valdmaa, soprano
David James, countertenor
Endrik Üksvärav, tenor
Raul Mikson, tenor
Tõnis Kauman, tenor
Tiit Kogerman, tenor
Henry Tiisma, bass

Estonian Philharmonic Chamber Choir
Tallinn Chamber Orchestra
Music Director and Conductor: Tõnu Kaljuste

Michalis Theophanous..........Man
Lucinda Childs..........Woman
Endro Roosimäe..........Heavy Man
Erki Laur..........Another Heavy Man
Tatjana Kosmõnina..........A Woman
Triin Marts..........Another Woman
Trevor Mattias Sakias..........Boy
Lui Laur..........Another Boy
Evelin Tanis..........Girl
Kätrin Kärsna..........Another Girl
Madis Kolk..........Tall Man
Indrek Hirsnik..........Tall Boy

Dramaturg: Konrad Kuhn
Director of photography: Nyika Jancsó
Costume design: Carlos Soto
Associate stage director: Tilman Hecker
Associate set designer: Serge von Arx
Assistant set designer: Ann Mirjam Vaikla
Light design: AJ Weissbard

Production: Accentus Music, in coproduction with ERR and WDR/Arte

Produced by Paul Smaczny
Directed by Andy Sommer

Noblessner Foundry, Tallinn, Estonia, May 12, 2015 (World Premiere)

(HD 1080p)

Recent years have seen a few significant anniversaries celebrated for Mozart, Strauss, Verdi, Wagner, Gluck, Rameau and Britten, but it's just as important to acknowledge and celebrate modern composers' work in their own lifetime. Such was the case last year with events for Harrison Birtwistle's and Peter Maxwell Davies' 80th birthdays, but these were relatively low-key compared to the scale of international concerts, releases and celebrations for the 80th birthday of Arvo Pärt. It's particularly surprising considering that, Gorecki and Taverner aside, Arvo Pärt's tonal compositions and their religious content seems to be at odds with modern music in an increasingly secular world, but his work undoubtedly captures a spiritual human dimension that it is hard to find elsewhere.

One of the most extraordinary musical events involving Arvo Pärt this year has been his collaboration with Robert Wilson for the creation of Adam's Passion at the Noblessner Foundry in Tallinn in May of this year. Composed almost entirely out of existing works written many years apart with no obvious connection between them, it's hard to imagine them adapted to a coherent dramatic stage work. Even with Adam's Lament (2010) at the core of the work, followed by Tabula Rasa (1977) and then Miserere (1989/1992), with a new prologue Sequentia (2014) as overture, the works are more contemplative in nature and not written with any dramatic presentation in mind.

Fortunately, that suits Robert Wilson rather well. Even in regular opera productions, Wilson has a unique way of working with shapes, symbols, colour and light that has little to do with regular narrative representation. He is undoubtedly at his best however when unconstrained by the need to serve narrative at all, such as in his groundbreaking Einstein on the Beach with Philip Glass and Lucinda Childs. His approach to the spiritual side of Arvo Pärt's music in the contemplation of Adam's Passion reduced to pure symbolism is as perfect a fit to the world/opera view of Robert Wilson as you can imagine. When you are dealing with the question of Adam, a subject that is Biblical, allegorical, symbolic and essentially spiritual, there is really no other option. A subject this vast in scale, with all its philosophical, theological and spiritual associations is never going to fit adequately into a narrative format.

Arvo Pärt's music is certainly capable of relating deeply to such matters, his own search to find the purest musical expression of his explorations into these areas coming down to his resonant  "tintinnabuli" style. It's the music of a composer at peace with himself but not in denial about the nature of humanity, their weaknesses and their detachment from their spiritual side. Pain is a constant theme, but it's the "healthy pain" of Wagner's Parsifal, accepting and embracing it as a part of what it means to be human. That doesn't mean that it's complacent either. Pärt's music is an expression of a continual search for answers, and of the beauty that is to be found in such contemplation.

It's this thematic core and treatment that in a way that makes the separate pieces chosen for Adam's Passion perfectly complementary, if not obviously adding up to something that is of a whole. Wilson and the composer do however fit the works together in a way that forms a meaningful arc with greater coherence. Sequentia and Adam's Lament deal with the question of original sin and the banishment from Eden, Tabula Rasa becomes a kind of search to regain Paradise/Innocence, trying to reconnect with the spiritual dimension that has been lost to a material view of the world, while Miserere weighs up mankind's efforts in the Dies Irae of Judgement Day.

From Genesis to the Apocalypse is still a considerable subject to depict on-stage, the simplicity of the words of the choral works and what they describe having to take in a lot of other complex ideas and associations. Wilson plays with the apparent simplicity of the words and the musical arrangements in his familiar manner, using very little in the way of props, but working with angular shapes, a limited palette of colour, movement and light, as well as considerable amounts of dry ice this time. But primarily light. There's justification alone in the subject for this – Adam's Passion is essentially "a search for light" according to the composer – even if light were not the main medium through which Wilson usually expresses ideas. It's hard to imagine a more perfect and complementary matching of visual ideas to musical themes.

And really, Wilson's designs looks incredible in the setting of the Noblessner Foundry in Tallinn. The first half an hour of the hour and a half long piece takes us through Adam's Lament with little more than an entirely naked man (what else for Adam?), holding a rock and walking slowly (what else for Wilson?) towards a branch at the end of a long platform extending right out into the hall, placing the branch on his head and making his way slowly back. He's not even Adam in this conception, just known as "the Man" (Michael Theophanous). Several other figures float across the stage; a woman (Lucinda Childs), a young boy, a young girl and an old man cross the stage during Tabula Rasa and Miserere, with the addition of one or two more objects. Whatever you take from their movements, everything is carefully placed, choreographed and measured to create an indelible impression.

It doesn't sound like a great deal but in such a setting every small movement, every subtle change of colour and light is noticed and, when combined with the words of the choral singing, adds significance to the power of the music itself. It's not about illustrating the music as illuminating it, filling the stage with a visual representation of the inner light of Pärt's music. It's a striking achievement, one that better than most testifies to the unique and special place that Arvo Pärt still holds in the world of contemporary classical music.

Source: operajournal.blogspot.com (October 2015)

Photos by Kristian Kruuser / Kaupo Kikkas

More photos

See also

Sergei Rachmaninov: All-Night Vigil – Beate Koepp, Kwon-Shik Lee – WDR Rundfunkchor, Nicolas Fink (HD 1080p)

Genesis: a concert performance of Martin Fröst – Gothenburg Symphony Orchestra (HD 1080p)

Dollhouse: a concert performance of Martin Fröst – Gothenburg Symphony Orchestra

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