Documents Similar To Le Grand Macabre – Ligeti. Christophe Uploaded by. butaotokodesu. Ligeti – Nouvelles Aventures. Uploaded by. ligetirocksu. Libretto by György Ligeti and Michael Meschke freely adapted from Michel de Ghelderode’s play “La Balade du Grand Macabre”. Welcome to Ligeti’s ‘anti-anti-opera’, Le Grande Macabre, writes Tom With his co-librettist, Michael Meschke, who also directed the first.

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Le Grand Macabre Libretto

Nekrotzar is defeated; they have all survived. Nekrotzar emerges, singing a motifexclaiming “away, you swagpot! Go-go emerges from hiding, is introduced to “Tsar Nekro” as “Tsar Go-go,” and the four perform stripped-down comedy sketches accompanied by stripped-down music.

Their generally outlandish behaviour suggests other pictures by Brueghel, like The Fight between Carnival and Death in which an obese Carnival sits astride a beer barrel with a pig on a spit as his lance, or the Bosch-like Netherlandish Proverbs in which reason is turned upside-down, or The Land of Cockaigne where the mountains are made of pudding, and a live roast goose lies down on a platter so that all its inhabitants have to do is eat and sleep.

Its premiere in Norway will be a version by La Fura dels Baus, a performance art ensemble from Spain known for its imaginative productions, original stage effects and extensive use of video.

Ligeti’s riot through history

Ligeti’s own music put him on a different course to these two masters of avant-garde music. They perform a stylized lovemaking, as Venus screeches her approval and Piet and Astradamors add their commentary. Over the lbiretto of the gran there is a change in the geography of the body, and because of its hyper-realist quality, we experience its hovering between life and death. A siren wails and a bass trumpet announces danger.


In the house of the court astrologer Astradamors The sadistic Mescalina has her husband Astradamors under her thumb. The prince grows hungry, so the politicians tempt him with a gluttonous feast to which the fat but boyish monarch sings an impassioned ode. And when it comes, then let it be.

Ligeti, György – Le Grand Macabre (libretto)

This feeling sets off a profound anxiety in the body, and it starts to disintegrate. Finally everyone sings the moral of the story: In the first four years alone it had seven productions in five languages, each with a different director, Such sustained success for a contemporary opera is unusual.

At first he planned an opera with a nonsensical phonetic text in the manner of his two music-theatre extravaganzas, Aventures and Nouvelles Aventures. The people, several of whom have been disguised the whole time as audience members in opera clothes, beg for mercy.

A graveyard Piet the Pot watches Amanda and Amando look for a spot where they can make love in private.

Are they all still there, in the right order? Nekrotzar appears with Piet and proclaims the end of the world. Something cruel and frightening. In preparation for a production at the Salzburg FestivalLigeti made substantial revisions to the opera intightening the structure by means of cuts in scenes 2 and 4, setting some of the originally spoken passages to music and removing others altogether Griffiths and Searby Schabernack brings in the two ministers, who beg for mercy.

Second Car Horn Prelude Scene 2 9. He insists that Piet must be his horse, and Piet’s only protest is to give his final cry, “cock-a-doodle-doo!

These suggest, very abstractly, a barren modern landscape and a traffic jam of sorts. At that stage, avant-garde musicians, spearheaded by Pierre Boulez and Karlheinz Stockhausen, shunned opera as a form stultified by convention librettp crippled by artistic conservatism, an emblem of the old musical order they had spent their compositional lives trying to dismantle.


The hilariously paranoid Gepopo, chief of the secret police, Ligeti portrays with the impish relish of someone who had experienced totalitarianism at first hand. An immense technical and expressive achievement, it made a profound impression.

The story, taken from Michel de Ghelderode’s play of the same name, is inspired by grsnd surrealistic, absurd theatre tradition based on a physical performance style the aim of which is to shake the spectator out of a false theatre illusion and challenge the audience’s preconceived perceptions of what theatre can be.

In the opera, however, he does not forge a new musical language.

He met Boulez at the summer schools for new music in Darmstadt, where as a lecturer and writer he exposed contradictions in Boulez’s compositions and theories, resulting in bitterness between them that took decades to heal. The original names of the lovers, Clitoris and Spermando, had already been altered to Amanda and Amando so as not to offend German audiences; but the melting lyricism of their music is no less affecting.

Le Grand Macabre Libretto | Ligeti |

In Budapest after the war, he found one ideological nightmare replaced by another as the Soviets took control, and then, in the west, met a group of composers who were deliberately shackling themselves to musical and compositional dogmas.

A lone metronomewhose regular tempo ignores that of the rest of the orchestra, joins in. He had spent time in America and revisited Hungary for the first time in fourteen years.