If the critic of the biggest Finnish newspaper ”Helsingin Sanomat” describes in her critique an opera ”finally truly difficult to understand”, of course, I had to go and see it. Well, truth to be told I had bought the ticket before the critique was published, but it did add some spice to the experience.
The story of the opera ”Medusa” which is composed by Paola
Livorsi (libretto jointly by Livorsi and Sara Orava) is not that easy to
describe, but this is how I understood it (I will not swear that I understood
it even close to correctly). A young man is posing as a model to the artist
Caravaggio and they are lovers (the youngster is apparently abused). A rival
beats Caravaggio up. The abused boy identifies himself in Medusa, who has also
been abused and thus has become Medusa. So, the story – if it can be called a
story – is rather unusual.
But the music of the opera was not that usual either. The
singing was standard classic singing only occasionally – the head role was sung
by Piia Komsi and most of the time she vocalized sounds in all different
manners, but they cannot be called singing. The opera consisted of not only
Komsi’s “singing”, but also of the music played by the small orchestra and of
dancing. The dancers (Jukka Valkama, Anneke Lönnroth, Mira Ollila and Aapo
Siikala) were great.
Ei kommentteja:
Lähetä kommentti