A very moving work! Sound technique in the voice is typical of the 1970s new music,,,but with his sensitive use of the instruments and open chords he has a unique sound world which is beautiful and emotional. How sad that Vivier died so young.
I think this is really compelling. I heard Music Matters today on BBC Radio 3. Decided to find some of Vivier's music. A strange life Claude Vivier. There are superficial similarities to Stockhausen but having seen 'Mittwoch aux Licht' in Birmingham I'd say it is out on it's own musically. I particularly liked the use of influences from Japanese theatre and Greek drama. What came to mind through the visual aspects was 'LUCI MIE TRADITRICI' by Salvatore Sciarrino in it's realisation in English by Music Theatre Wales. To me, the sound is closer to Gesualdo's world than to what most people would expect from Opera.
Speaking as an instrumentalist (oboe, flute and clarinet), there's no reason we can't memorize and take part in theatrical elements like dancing and blocking. I've done so sometimes. A challenge but rewarding!
quelques réserves polies sur le texte gloubi boulga mumbo jumbo qui pourrait avoir été écrit par Sun Ra .... mais quelle musique absolument géniale ! qui ne ressemble à aucune autre. et c'est si inhabituel de voir les musiciens évoluer au milieu des chanteurs. Claude Vivier était vraiment un compositeur miraculeux. Quelle perte prématurée irremplaçable !
Un des plus beaux ouvrages lyriques contemporains, qui annonce les autres chefs-d'œuvre de la fin: Prologue pour un Marco Polo, Lonely Child, Bouchara...
Quite Stravinskian some of the music - for example 4:03, this neo Renaissance style with freer dissonance that you hear in Stravinsky's late works (although achieved with completely different methods than the renaissance composers).
Besides the complete genius of this music, my first reaction as an American is that there'd never be funding to get the instrumentalists to memorize and stage something like this over here.
This was a production of an established opera house, David. The opera houses (in the United States, I presume) should be able to produce this kind of productions too.
The Met could do anything, sure, (though they would never produce this opera because it's too modern) but I would just not see a situation where anyone would be willing to pay instrumentalists enough money to go so far beyond their normal role.
Against the Grain Theatre is staging a production of Kopernikus in Toronto in April 2019, with the instrumentalists memorized, costumed, staged and choreographed (and paid!). Seeing it would entail a trip to Canada, but hey, it's closer than Europe!
![Claude Vivier - Paramirabo for Ensemble (1978) [Score-Video]](http://i.ytimg.com/vi/Pqf6x6IZyRc/mqdefault.jpg)
![Claude Vivier - Paramirabo for Ensemble (1978) [Score-Video]](/img/tr.png)
![[Bad] - Преступление и наказание (КиноПоиск против Достоевского)](http://i.ytimg.com/vi/Ds3DpAnfs4M/mqdefault.jpg)
A very moving work! Sound technique in the voice is typical of the 1970s new music,,,but with his sensitive use of the instruments and open chords he has a unique sound world which is beautiful and emotional. How sad that Vivier died so young.
I think this is really compelling. I heard Music Matters today on BBC Radio 3. Decided to find some of Vivier's music. A strange life Claude Vivier. There are superficial similarities to Stockhausen but having seen 'Mittwoch aux Licht' in Birmingham I'd say it is out on it's own musically. I particularly liked the use of influences from Japanese theatre and Greek drama. What came to mind through the visual aspects was 'LUCI MIE TRADITRICI' by Salvatore Sciarrino in it's realisation in English by Music Theatre Wales. To me, the sound is closer to Gesualdo's world than to what most people would expect from Opera.
Speaking as an instrumentalist (oboe, flute and clarinet), there's no reason we can't memorize and take part in theatrical elements like dancing and blocking. I've done so sometimes. A challenge but rewarding!
This is fantastic! A revelation!
So happy to see this!!!
This is amazing!
Brilliant!
quelques réserves polies sur le texte gloubi boulga mumbo jumbo qui pourrait avoir été écrit par Sun Ra .... mais quelle musique absolument géniale ! qui ne ressemble à aucune autre.
et c'est si inhabituel de voir les musiciens évoluer au milieu des chanteurs.
Claude Vivier était vraiment un compositeur miraculeux. Quelle perte prématurée irremplaçable !
Un des plus beaux ouvrages lyriques contemporains, qui annonce les autres chefs-d'œuvre de la fin: Prologue pour un Marco Polo, Lonely Child, Bouchara...
Quite Stravinskian some of the music - for example 4:03, this neo Renaissance style with freer dissonance that you hear in Stravinsky's late works (although achieved with completely different methods than the renaissance composers).
Besides the complete genius of this music, my first reaction as an American is that there'd never be funding to get the instrumentalists to memorize and stage something like this over here.
This was a production of an established opera house, David. The opera houses (in the United States, I presume) should be able to produce this kind of productions too.
The Met could do anything, sure, (though they would never produce this opera because it's too modern) but I would just not see a situation where anyone would be willing to pay instrumentalists enough money to go so far beyond their normal role.
Against the Grain Theatre is staging a production of Kopernikus in Toronto in April 2019, with the instrumentalists memorized, costumed, staged and choreographed (and paid!). Seeing it would entail a trip to Canada, but hey, it's closer than Europe!
@@BrennaHardyKavanagh So did you go and did you like it?
@@francoisdesnoyers3042 I was the violinist in the Against the Grain Theatre production ;) so yes and yes!