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Estasi in un atto frammenti di Maria Maddalena de'Pazzi ricomposti da Salvatore Sciarrino per 8 strumenti ensemble recherche Direction and Project Management: Joachim Schlömer Video Design: Philip Bußmann Soprano: Sarah Maria Sun Performer: Andreas Bode, Swantje Gostomzyk, Gabriele Graf, Sebastian Hannak, Tina Hartmann, Hans-Jörg Kapp, Anja Kleinmichel, Anne-May Krüger, Xenia Leydel, Achim Naumann, Axel Nitz, Rosemara Ribeiro, Nara Shin, Yumi Shoji, Sarah Maria Sun und Michael von zur Mühlen Instructors: Salvatore Sciarrino, Joachim Schlömer, and Prof. Dr. Klaus-Peter Kehr Maria Maddalena was regarded by those around her as a “madwoman”, who was overcome by mystical inspirations. Her visions often contain satanic images. Because she came from an aristocratic Florentine family, however, she was beatified nonetheless. She did not write down the products of her obsession (or possession), which sometimes seem positively pathological, herself; that was the work of eight novices with whom she surrounded herself. Maria Maddalena spoke very quickly, almost mechanically, interrupted by long moments of silence. The soul that turns into blood, the thorns that pierce the Holy Father, death, virginity, openings of heaven, cavities of the body—these are the subjects of Maria Maddalena’s visions, which also seem invested with erotic obsessions, which express themselves in “devilish” writhing. Sixteen participants from the areas of composition, directing, stage design, dramaturgy, singing, acting, and video worked together on Sciarrino’s Infinito nero under the direction of Joachim Schlömer, Salvatore Sciarrino, and the ensemble recherche from December 2003 to April 2004 in three phases: “We wanted to discover something about the relationship between the experience of listening, physical sensation, and perception of space using Salvatore Sciarrino’s music as an example,” as Joachim Schlömer explains the project. Various theatrical test setups were worked out, discussed, and tested. While working on the project specific questions about Sciarrino’s Infinito nero raised fundamental questions about the means available in the theater: What do body, movement, sound, words, and forms in space tell? How do they react to one another? How is concentration produced? How does meaning emerge? Can the two be avoided? Orbiting the main project, Infinito nero, were various satellite projects by individual participants in the project. They arose out of the participants’ specific questions about contemporary musical theater in relation to Sciarrino’s music and the material of Infinito nero. Joachim Schlömer intertwined the scenic material of the main project with the results of the satellite projects. Infinito nero was not presented as a finished work but rather as a document of a process of work and research. » INFINITO NERO Photos » INFINITO NERO Press Reviews » SALVATORE SCIARRINO Biography » ENSEMBLE RECHERCHE Homepage |
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