Al gran sole carico d'amore -II-

Picture taken from the U8 line, on the way to the abandoned plant.
Celebration of women all over the world today and in this amazing musical work of art written by LUIGI NONO


It was the first of March and the opening night of this grandiose musical and political work, which carries in its title enough fraternal warmth badly needed now.
We had prepared the trip from Charlottenburg to Kraftwerk Mitte carefully but in fact it was quite easy as there were stickers on the underground walls to show us the route and exits to this plant.
The industrial setting was impressive and looked fierce with its thick bare high slabs.
The constrast with chandeliers and red armchairs lost in this huge space gave to this spot a strange atmosphere. It will never feel like a cosy opera hall and this disguise looked ridiculously tiny compared to the huge abandoned structure. The true setting, the factory prevails whatever is made to transform it into a posh opera place. I could feel that this opening night had a certain value judging by the number of cameramen around, and the dressed up audience. I noticed an exquisite black hat with tiny black feathers and pearls perhaps also definitely out of place in this rough background.
That it was a cultural event was obvious.
It was advertised in the underground and signposted, and there was a real crowd around the place.
I was also very tensed, because I had time to listen to it on the night train but not enough to really go into all the poetical fragments chosen by Luigi Nono. Some heroines like Louise Michel and the Turino workers are in my memory. I had to refresh my knowledge of the 1902-1905 Russian revolution and the image of the Russian mother from Gorky's novel, and also the more recent Bolivian revolution linked to the Che and Tamara Bunke. Even the reading of Jeanne Marie which is sung was a rewarding exercise. Young Rimbaud before he became a merchant was a revolutionary youth and Luigi Nono who selected the texts of his work is offering a fantasic choice of generous ideas from several countries in the world. If the revolutionary aspects were failures for the working class and seem old fashioned now in our european countries, the solidarity and generosity expressed in the selected texts are still valuable and could be shared now. After all, oppression has changed forms but is still the outcry of the people. For the communist ideal of these heroïnes, this musical work is more like a Requiem which ends in silence. But the solidarity of the workers is felt and is shared throughout this work.
Through some revolutionary popular songs, l'Internationale, Non siam più la Comune di Parigi, O fucile,vecchio mio compagno, Bandiera Rossa, and the Russian song Dubinushka sung by peasants during their 1902 upheaval the chorus has a central part and I really enjoyed this tremendously.





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LINKS : Critics from the German press.

Ein ärgerlich grandioser Abend
http://www.npr.org/blogs/nprberlinblog/2012/03/07/148053709/industrial-revolution-staatsoper-berlin-stages-premiere-at-the-kraftwerk?ft=1&f=
Märkische Allgemeine
Staatsoper mit Nono im Heizkraftwerk Mitte
6 Mar 12
Berliner Zeitung
Kommt ein Kommunist zum Zahnarzt
6 Mar 12
Die Welt
Rote Oper im roten Samt
6 Mar 12
Neue Musikzeitung
Berliner Staatsopern-Events mit linkem Museumsstück und russischer Diva
5 Mar 12
Mannheimer Morgen
Staatsoper Berlin spielt Revolutionsoper im Heizwerk
5 Mar 12
Der Tagesspiegel
Süßer Tod
5 Mar 12
rbb Kulturradio
Staatsoper im Kraftwerk Mitte: "Al gran sole carico d’amore"
3 Mar 12
Berliner Morgenpost
Ein verkrachter Nono im Kraftwerk Mitte
3 Mar 12
klassik.com
Großer Zusammenhang großer Fragmente
3 Mar 12
Deutschland Radio
Ein ärgerlich grandioser Abend
3 Mar 12

When it started, I felt lost:
Listening was fairly easy but linking it with two levels of understanding was not easy.
(at least, because the chorus on the far right corner of the stage had to be watched carefully too; one on the stage and its background with the five rooms of the heroïnes, and then the huge screen where the crew on stage projected close-ups of the women actors, while the singers in black performed at the front of the stage).
Then, gradually I focused on what I found relevant to the music and singing, and these levels became more coherent. The projected faces were like paintings, it was like gazing at an old story teller book with dainty drawings where details of the material of a dress, the texture of a tattered leather box where an old pistol was sheltered, or the softness of a curl of hair, could be felt. It was also a visit in an old room of some museum where a young research student made us discover the documents of the revolutionary heroïnes, digging them out of cobwebs and layers of dust. Now I cannot recall all the details and I reckon I have missed a lot. Light, time, space and people were important themes. Louise lights a candle at the opening scene, the student guide in the museum does the same to light the old documents and then try the old type writer. These lights are the guides we need now to get close to these ideals.
All the heroïnes involved in revolutionary action keep an eye on a watch, either old fashioned or modern at the wrist, making us feel the urgency and dangerousness of their role.
The space is felt in the different scenes in the five rooms facing us from France, Russia, Italy, Bolivia, Vietnam. We are travelling in space and time while there is a constant presence of the people on stage, in the Greek sense with the huge chorus. Are we part of the chorus?

I am sure I missed a lot of the actions because I was fascinated by them, they acted in a way I had never seen before. They swayed and turned their scores and agitated red leaflets according to the rythm of what they were singing sometimes. More than what I heard from the singers, they embodied the revolutionary ideals. They had red roses and waved them then laid them on the patch of ground, the symbol of the grave at the front of the stage, at the death of the heros. They angrily waved their fists in the communist manner, sometimes mute, sometimes while singing.
I felt I was protesting with them. I felt much younger, when I was attending Vietnam protest meetings.
This work, for me, because of the power and beauty of the chorus is like an oratorio. The chorus sounded fantastic. Luigi Nono has given them a very important role and I have the feeling this ensemble gave a smashing, overwhelming and moving rendition that opening night.
The four women soprani singers had fantastic singing abilities to go from shrill sounds to high smooth curves. The Russian mother with her mezzo voice was the most upsetting one.
The two baritones and the tenor were the voice of the boss and patron and lover too in the Bolivian part. They were all outstanding.
I had a sound shock twice and jerked badly, I was not the only one, and the fairly high metallic frame where we sat swayed a bit or I felt so as my neighbour behind nearly fell off his seat... Another time I felt dizzy because of what was going on with the electronic sound effect, blasting like an endless air raid...
The second part was faster and more moving in the sense of rhythm and tragic deaths.
It ended almost in silence, after so much turmoil, blood and death.
The last words are for la Madre:
"Continuità della madre
Madre(contralto solo) soprano solo, coro grande orchestra
"Non più servi né padroni, Su lottiamo"
L'Internazionale
Il tempo Finale LINK

Why is it in this affluent capital of a fairly well off european country that such a strong left wing inspired musical work is being performed?
There is a paradox in this event taking place in Berlin, even if the choice of an industrial site suits the purpose better.
All the rooms had windows, and all the five women who were taking decisions to join revolutionary action, at one point or another gazed at their window ( even got it smashed up like Louise did). These windows worked like frontiers to their new world, stepping into history.
I had a fantastic time, musical, aesthetic, because the material was so rich to explore.
I was not near enough to grab it all.
May be, I will see it on a screen one day?
Meanwhile, the record and booklet are awaiting for further listening and investigation...and complete discovery of Cesare Pavese poems linked to the character of Deola.