OPERATION:ORFEO
A Visual Opera in Three Movements
1993 – 2007 – 2021
RESTAGING PARTICIPANTS (2021)
Conductor Kaspars Putnins
Solo singer Ieva Parša
Solo dancer Lisbeth Sonne Andersen
Vocal ensemble Latvian Radio Choir
Concept, direction Kirsten Dehlholm
Libretto Ib Michael
Music, composition & arrangement Bo Holten
Music, excerpts John Cage, Christoph Willibald Gluck
Set design Maja Ravn
Light design Jesper Kongshaug
Costumes Annette Meyer
Sound design Kristian Hverring
Choreography for solo dancer Anita Saij
Producer Lisbeth Jacobi
Production manager Jānis Liniņš
Light engineer Oskars Plataiskalns
Sound engineer Kristian Hverring
AV engineer Uģis Ezerietis
Stage manager Girts Zvirbulis
Props assistant Alisa Rūta Stravinskaitė
Manager Ulla Katrine Friis
RESTAGING PARTICIPANTS (2007)
Conductor Kaspars Putnins
Solo singer Baiba Berke
Solo dancer Lisbeth Sonne Andersen
Vocal ensemble Latvian Radio Choir
Concept, direction Kirsten Dehlholm
Music, composition & arrangement Bo Holten
Music, excerpts John Cage, Christoph Willibald Gluck
Libretto Ib Michael
Set design & light concept Maja Ravn
Light design & light concept Jesper Kongshaug
Costumes Annette Meyer
Choreography for solo dancer Anita Saij
Sound design Anders Jørgensen
Dramaturgy Claus Lynge
The re-staging in 2007 is co-produced by Latvian National Opera, Latvian Radio Choir and Hotel Pro Forma and is supported by the Danish Committee for the Performing Arts and the Bikuben Foundation.
PARTICIPANTS (1993 – 2001)
Conductor Bo Holten
Solo singer Agnethe Christensen
Solo dancer Ninna Steen
Vocal ensemble Ars Nova / Musica Ficta
Commisioned and co-produced by Århus Festival Week 1993.
Photos by Roberto Fortuna:
The Danish theatre company Hotel Pro Forma dematerialises the myth of Orpheus to the point of abstraction. A pure object of contemplation. All that is left is the essence: staggering music and breathtaking beauty.
– Jean-Michel Lahire
Read the full review here
The Independent Riga (LV) – 2007
Operation : Orfeo demonstrates the metamorphosis of opera in the 21st century in its most positive way. The performance is transformed by the Latvian Radio Choir into a manifesto of the most powerful musical instrument – the human voice. The Danish dancer Lisbeth Sonne Andersen sculpts her fluid motions. Operation : Orfeo is a world class show.
– Laima Mellena
Read the full review here
Sidney Morning Herald (AU) – 1998
This gut-wrenching beautiful work… teases out key elements of an ancient story, elaborating them into hypnotic patterns based on the true irreducible fundamentals of the theatrical process: bodies moving in time and space…It is a great work of art which renders the critic useless…Without a doubt one of the greatest experiences I have ever had in the theatre.
– James Waites
Read the full review here
Le Soir (FR) – 1995
An intelligent and fascinating delirium of mysterious beauty. With the myth of Orpheus, Hotel Pro Forma has arranged the essential. It is a stringent construction created by a magnificent optical concept which transforms and occasionally reduces the room to a complete two-dimensional space…These Danes are unsurpassed.
– Michèle Friche and Jean-Marie Wynants
Read the full review here
As the myth is well known the storyline has no need to be told in detail, but may well serve as a dramaturgic course. Operation : Orfeo is divided into three parts. Darkness prevails in the first part and refers to the descent of Orpheus. From the dim clair-obscur of the second part persons appear and recall the ascent of Orpheus. Strong light emerges when the third part begins and reflects the loss of Euridice as a memory laid bare. A sequence of images follow, an interchange between the total illusion of two-dimensional plane and three-dimensional depth.
The set’s framing both bounds the finite and is the gateway to the infinite. Within this frame usual modes of seeing and perceiving are suspended or displaced. The perspective switch is in co-existing forms between that of a giant canvas and one of monumental depth. The tiniest items can be seen with the clarity of magnification, but are dwarfed by the whole. The known and the unknown are brought into new alignments to create poetic assonance – devoid of purposeful meaning in its statement, yet filled with meaning in its experience. Throughout, the performers themselves transform the composition of space as they move like elements of an animated painting or sculpture. The minimalist actions of the singers carefully relate to the music but do not interpret it. Thus the two different languages of movement and music communicate in a subtle way without illustrating each other.
The lone dancer is the only figure who may be seen to represent the narrative of the myth, though she cannot be taken to represent any particular character – she could be Orpheus, and she could be Euridice. She could indeed be the storyteller herself.
Like the visual elements, the music creates a play of difference through oppositions that entice and illuminate each other: the tenuous and the voluminous, the sporadic and the unifying, the soloist and the chorus.
The minimalism of John Cage is staged in a full-blooded choral, while the music by Bo Holten, inspired by the Renaissance choir and specifically composed for this production, is lush and redolent. The famous aria Che faro sensa Euridyce from Gluck´s opera Orpheus and Euridice appears as a classical quotation, an icon, a remembrance.
The cast consists of twelve singers, a mezzo soprano soloist, a solo dancer and the conductor.
This libretto comprises two texts by Ib Michael: The indented passages are taken from his collection of poems, Himmelbegravelsen (Sky Burial). The remainder of the text was commissioned for this production.
Wind through to one face in a crowd,
dark with forgetting –
An underwater current
sets her hand to waving
and she sways in silhouette
She is but one drowned dancer
among many
who have forsaken choreography
and have entered into silence
where the sunlight sails
on a film of mineral salts
As yet still caught inside your lungs,
a pocket of air confined by your ribs
As yet the telegraph still crackles
within its own closed circuit where
the gills of the heart palpate
as yet her name is still dawning on your lips
– echo of that name
you bound in music
e’er she fell
from your face –
With your vast mouth you colour
you colour the water red
as you mime her name
and feel the salt in your eye.
You snatch at silhouetted forms
Only to be brushed by riven silk
brushed a shiver from the soul
as the shoul turns away –
You raise her up from the ocean floor
dancing
with face averted
she pitches, heavy as a sleeper
in your arms
Strung out in the air
between circling silhouettes
with wind
rushing through feathers
The two leading birds
hold everything spellbound
the sun refuses to rise
the day hangs at rest in its heaven
no shadows race
across the mountain tops
they too await
the butcher’s cry
As he cuts off the head
the faintness again
face to face with features
with eyes and an open mouth
so staggeringly weightless
without its body
——–
According to legend
a myrtle wreath bobs off into the dusk
the concert grands play, sable-sailed
with masts by the hundred the ships go down
——–
On the shoreline a seagull’s raucous cry
sounds across white stones
sleep and forgetting in symphony
capsuled in amber caskets
Underneath I am blue
and hard as a Rock
Århus Festival Week, Aarhus, Denmark 1993
Operation:Orfeo is a musical work that draws on the basic principles of visual art. A reconceptualisation of the opera genre. Causal and dramaturgic sequence in libretto and music is replaced by a series of tableaux and compositions informed by purely visual and auditive principles rather than by dramatic modes of narration. The performance is a visual interpretation which comes to rediscover the basic elements of traditional opera.
The myth about Orpheus’ journey to the underworld is not retold in a direct way. Rather, it serves as a dramaturgical device with the classical division of the myth into three parts informing a series of images translated into a contemporary scenic language. It hints at the mythic narrative without ever illustrating it. The three parts correspond with the stages in which the events of the mythic narrative unfold: the descent, the ascent and the loss – visualised in images of light and shadow, flat surface and depth.
The libretto is a sensuous flow of words performed as symphonic a capella singing. Like a glowing poem it dives into the fluid, colourful and shady underworld of the ocean to re-emerge at the Roof of the World in the middle of a death cult being performed.
The music of the performance creates a play of difference through oppositions that entice and illuminate each other: the tenuous and the voluminous, the sporadic and the unifying, the soloist and the chorus.
The performance is simple like a surgical incision and complicated like major surgery.
Duration 80 min. no intermission
En billedopera i tre satser
1993
Operation : Orfeo er et musikalsk værk skabt ud fra billedkunstneriske grundprincipper. Forestillingen repræsenterer en ny tilgang til operagenren.
Kravet til årsagssammenhæng og dramatisk forløb i libretto og musik er erstattet af en række tableauer og kompositioner, bestemt af rent visuelle og auditive principper snarere end af dramatiske fortællemåder – en billedtolkning, der genfinder den traditionelle operas grundelementer.
Myten om Orfeus’ rejse til underverdenen bliver ikke genfortalt direkte. Men den tjener som et dramaturgisk forløb med den klassiske tredeling som udgangspunkt for en serie billeder, komponeret og oversat til et moderne scenisk billedsprog. Det antyder, men illustrerer aldrig det mytiske materiale. Tredelingen refererer til mytens udviklingsfaser: nedstigningen, opstigningen og tabet, synliggjort som billeder i mørke og lys, i flade og dybde.
Librettoen er en sanselig beskrivelse, fremført som symfonisk sang uden instrumentalt akkompagnement. Som et glødende digt dykker den ned i havets substansløse, farverige, skyggefulde underverden og dukker op midt i et døderitual på verdens tag.
Musikken i forestillingen bæres af modsatte kvaliteter, der spiller op til hinanden; det spinkle til det voluminøse, det spredte til det samlede, solisten til koret.
Forestillingen er enkel som et kirurgisk snit og kompliceret som en stor operation.
Varighed 80 min. uden pause
Operation:Orfeo, kunsten og det sensoriske
Temaaften med oplæg og omvisning
Fredag d. 12. februar, 2021 kl. 17.00 – 20.30
ARoS
Hotel Pro Forma gæster d. 11. februar 2021 Musikhuset Aarhus med det ikoniske hovedværk Operation:Orfeo.
Forestillingen er en moderne klassiker, baseret på myten om Orfeus og Eurydike, hvis lige vi hverken finder æstetisk eller genremæssigt inden for dansk scenekunst.
Operation:Orfeo er et musikalsk værk, en billedopera, som er skabt ud fra billedkunstneriske grundprincipper og repræsenterer en ny tilgang til operagenren.
Forestillingen blev skabt til Aarhus Festuge tilbage i 1993 på Musikhuset Aarhus og har rejst over hele verden siden. Musik er komponeret af Bo Holten og John Cage. Libretto er skrevet af Ib Michael.
I denne forbindelse afholdes temadag fredag d. 12. februar 2021 på ARoS som sætter fokus på Operation:Orfeo: Teater som visuel kunst, scenisk installation, koreografi, lysdesign, fortælling og opera.
Arrangementet vil belyse spørgsmål som: Hvordan er værket blevet skabt og opført gennem næsten 30 år? Hvordan skabes den æstetiske sensoriske relation til tilskuerne? Hvad betyder den perceptuelle og emotionelle relation for tilskuerne? Og sidst, men ikke mindst: Hvilken position har værket i Hotel Pro Formas historie? Oplægsholderne er Kirsten Dehlholm, instruktør og kunstnerisk leder, Hotel Pro Forma, og fra Aarhus Universitet, Institut for Kommunikation og Kultur: Peter M. Boenisch, professor, Morten Kyndrup, Professor og Erik Exe Christoffersen, Lektor.
Aftenen slutter af med en omvisning i udstillingen James Turrell – ARoS to the next level.
Temaaftenen er gratis ved fremvisning af købt billet til Operation:Orfeo dagen forinden, d. 11. februar kl. 20.00, i Musikhuset Aarhus eller ved køb af entrébillet til ARoS.
Pladsen er sikret når den bekræftes fra Hotel Pro Forma. Reservation sker til mail@hotelproforma.dk.
Arrangør: ARoS, Aarhus Universitet og Hotel Pro Forma
