Nekaj čarobnega

16. 2. 2017
by darjin01
Orkester je čarobna tvorba. Kot ogromen organizem, sestavljen iz drobnih nevidnih nitk. Tisti, ki ste pogledali film Avatar, boste vedeli o čem govorim. O tistem drevesu, na katerega se povežejo vsa bitja planeta. Z drobnimi nitkami. In se začutijo.      Dirigent je drevo. Nekdo, ki razporedi energijo med maso instrumentov in ljudi. Nekdo, ki vzame kričanje violinam in ga preda čelom. Nekdo, ki ljubezen iz strun viol pošlje pihalom ali odvzame bes trobentam in ga položi na opne bobnov… Orkester je nekaj tako čudovitega, da se včasih težko ubesedi. Že, ko sem bila majhna, sem sanjala o tem, da bi nekoč bila del takega sestava. In ko sem hodila na operne in baletne predstave, so me ob prvih zvokih uverture, oblile solze. Zvok orkestra se mi je zdel tako čaroben, mogočen in lep, da vse te lepote duša preprosto ni prenesla…   In kasneje, ko sem že bila članica orkestra, se mi je še vedno zgodilo, da so me sredi igranja oblile solze. Da me je dušilo od vsega lepega. Od lepote glasbe, drhtenja strun pod prsti ali vibriranja lesenega ljubimca ob katerega sem se privijala. Tudi tokrat ni bilo nic drugače. Kljub temu, da sem v novo sezono […]
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SALOME

3. 11. 2016
by darjin01
Salome, Op. 54, is an opera in one act by Richard Strauss to a German libretto by the composer, based on Hedwig Lachmann’s German translation of the French play Salomé by Oscar Wilde. Strauss dedicated the opera to his friend Sir Edgar Speyer.  The opera is famous (at the time of its premiere, infamous) for its “Dance of the Seven Veils”. The final scene is frequently heard as a concert-piece for dramatic sopranos. The combination of the Christian biblical theme, the erotic and the murderous, which so attracted Wilde to the tale, shocked opera audiences from its first appearance. Some of the original performers were very reluctant to handle the material as written and the Salome, Marie Wittich, “refused to perform the ‘Dance of the Seven Veils'”, thus creating a situation where a dancer stood in for her. This precedent has been largely followed, one early notable exception being that of Aino Ackté, whom Strauss himself dubbed “the one and only Salome”. It was first performed at the Hofoper in Dresden on 9 December 1905, and within two years, it had been given in 50 other opera houses. Gustav Mahler could not gain the consent of the Vienna censor to have […]
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