2004 · Antigona · Traetta · Rousset · Vigner (EN)
Français
DeutschIn March 2004 VIGNER directed ANTIGONA by TRAETTA, his third opera with CHRISTOPHE ROUSSET, with the singers MARIA BAYO, MARINA COMPARATO, KOBIE VAN RENSBURG, LAURA POLVERELLI and JOHN MC VEIGH. The opera is created in Montpellier and presented at the Théâtre du Châtelet in Paris in June 2004. In this project VIGNER collaborated with the graphic artists M/M as set designers. Whereas STRAVINSKY set the beginning of the myth to music - Oedipus becoming gradually aware of his twofold crime, patricide and incest - TRAETTA focused on the events that follow, inspired by the tragedy of Sophocles. Here, the heroine is Antigone, the daughter of Oedipus.
"Antigone is the principal character of the opera, not so much by her presence on stage or the number of arias she sings but by the nature and importance of her interventions. Right from her entrance with "Fermatevi, crudeli" (I, 2) each of her appearances on stage seems to be enveloped in a halo of spirituality and purity which reflects her inner dilemma. This magical atmosphere about her never leaves her, not even when she gives expression to such human and prosaic feelings as indignation or despair."
Giovanna Ferrara
"Twin brothers who fight and collapse, like Twin Towers… This is the first scene of ANTIGONA by the Italian composer TOMMASO TRAETTA (1727-1779), and the mise-en-scène by ÉRIC VIGNER sets the tone. ‘This opera, an avant-garde work at its time, is still of relevance today,’ affirms CHRISTOPHE ROUSSET, the conductor of the orchestra Les Talens Lyriques, who perform this work at the borderline between baroque and classical music. ‘Antigone’s world is decadent, based on incest, and bound to crumble’ Antigone is the daughter of Oedipus, who has married his own mother, Queen Jocasta. Antigone’s brothers, Eteocles and Polyneices, kill each other in their struggle for power. Creon, their uncle, who has become king, and who holds Polyneices responsible for the ensuing civil war, decrees that he be denied burial. Antigone disobeys the tyrant, buries her brother, and is condemned to death. ‘Antigone stands up against the abuse of power to defend human values,’ continues CHRISTOPHE ROUSSET, ‘she is not afraid to raise her voice in the name of justice. Protest has been a necessity at all times, and particularly today, when politicians tend to hold human values in low esteem. All the more reason to revive this rarely played, all-but-forgotten opera.’ So, do not expect actors in powdered wigs and eighteenth-century costume. The setting of ANTIGONA is deliberately contemporary and committed to a cause."
Ghislaine Arba-Laffont, La Gazette, 19/25 march 2004
"ANTIGONA was written and composed for CATHERINE II of Russia, a remarkable political leader and patron of the arts. She used her patronage of the arts and artists to leave her mark on history, a very personal and intimate mark. The Empress is a woman, and the story of Antigone was chosen by design: Antigone is not to die but is pardoned because she acted out of love. The opera begins with the battle between the twins Eteocles and Polynices, who die before Antigone’s and all the world’s eyes. This act of violence triggers developments that are to follow as by way of a ceremonial. In the play, the two brothers’ death is not by accident, it is willed, destined, even desired. As if all that had started with the incestuous crime of Oedipus was to be brought to its conclusion, then and there, in the internecine battle. Their mutual death is an initiation, and the message to Antigone is that the story of her father is to end once and for all. That everyone, everything, has to die so that the new may come. Antigone’s deed was not only done in defiance of Creon’s law, it was to put an end to that law in order for her to join her two brothers in death. To revert to dust, in order to be united with dust of the stars, and the dust of Time. We are made to attend a ceremony of achievement, of "getting there", on the ruins of the world in an undefined space-time. The ruins of the world only live on as charred signs and their meaning and usefulness must have been understood at one time, while they were still alive."
ÉRIC VIGNER
"When you listen to ANTIGONA, the first thing that comes to mind is the beginning of light, of the black light of cosmic depths, of a perpetual vacillation between black and white. We see projections of star-filled space, luminous memories of Cepheids, an extinguished sun … How can we present Antigone’s tragedy today, when tragedy is rife, surrounds us day and night? This is why I have chosen the graphic artists, M/M, who work in varied fields doing visual art, posters, fashion …, and PAUL QUENSON as costume designer. They bring to our project their view of the contemporary world. Playing TRAETTA’s ANTIGONA at this time means taking the audience on a trip of the senses through a universe of signs that enter into a dialogue with their personal histories."
ÉV
© Photography : Alain Fonteray
Texts assembled by Jutta Johanna Weiss
Translation from the French by Herbert Kaiser
© CDDB-Théâtre de Lorient
