Press office of Teatro Colón |
"Eterna Flotación: los monstruito' " is the title of a new Argentinean opera that is set to be one of the most attractive premieres proposed in recent years by the Centre of Experimentation of Teatro Colón (Centro de Experimentación del Teatro Colón, CETC), as much as for the brilliant artistic paths of its authors - Oscar Edelstein and Rodolfo E. Fogwil - both emblematic in their respective fields, as for extremely controversial nature of it's thematic content.
Chosen by Rodolfo Enrique Fogwill on behalf of the Centre for Experimentation of Teatro Colón, Oscar Edelstein started the work of composing the opera in 2005. He made the script from two poems of Fogwill; "Contra el Cristal de La Pecera de Acuario" (Against the Glass of the Aquarium) " and "El Antes de los Monstruito" (Before the Monsters) from the book "Lo Dado" (The Given), in order to transform them into a continuous discourse that functions as a dramatic text.
The allocation of the different voices, the planting of situations, the generation of conditions and the representation of concrete actions allow the development of the characters according to a free interpretation of the sense and form, but verbatim respecting the original texts.
The opera is divided into two acts each with eleven moments. In the first act ”La Pecera“ (The Fish Tank) the characters are blury and floating constantly under a weak blue light. In the second act - "Los monstruito" -- it moves towards an ever growing explanation of its profound discourse, while the main characters are fully developed and displayed.
In this version - v 1 ap 1 - of Eterna Flotación: Los Monstruito, the staging includes - as the only text added to the original book, in the form of a coda - expressive commentary, the poem of Juan L. Ortiz called "El Río" (The River).
Chosen by Rodolfo Enrique Fogwill on behalf of the Centre for Experimentation of Teatro Colón, Oscar Edelstein started the work of composing the opera in 2005. He made the script from two poems of Fogwill; "Contra el Cristal de La Pecera de Acuario" (Against the Glass of the Aquarium) " and "El Antes de los Monstruito" (Before the Monsters) from the book "Lo Dado" (The Given), in order to transform them into a continuous discourse that functions as a dramatic text.
The allocation of the different voices, the planting of situations, the generation of conditions and the representation of concrete actions allow the development of the characters according to a free interpretation of the sense and form, but verbatim respecting the original texts.
The opera is divided into two acts each with eleven moments. In the first act ”La Pecera“ (The Fish Tank) the characters are blury and floating constantly under a weak blue light. In the second act - "Los monstruito" -- it moves towards an ever growing explanation of its profound discourse, while the main characters are fully developed and displayed.
In this version - v 1 ap 1 - of Eterna Flotación: Los Monstruito, the staging includes - as the only text added to the original book, in the form of a coda - expressive commentary, the poem of Juan L. Ortiz called "El Río" (The River).
The Music
The music uses as its own poetic content the creation and the reinterpretation of styles and genres. In the mode of critical commentary, the themes and the technical-material elements are used in different grades of variation with a type of imitative, intermodulating, projective, amplificatory function. These scales of variation centre around historic opera, incorporating numerous illusions timbric-rhythmic (traces) to Argentine popular music, which they achieve without the use of citations, textual and/or intertextual allusions.
The subjects and forms appear filtered only by the associative long range memory, combining personal techniques of composition with (others) synthesis of intuitive processes generators - called high intuition or 'the thunderbolt’- and in addition to the traditional European. At all levels, the musical discourse of the work is subject to the same 'moral fall' that affects the text; the techniques are 'deteriorating and falling' together with the forms and the styles; with this, also the idea of beauty, music, poetry, travel from random or memory to concrete political power: the party and the end of the Argentinean party.
The subjects and forms appear filtered only by the associative long range memory, combining personal techniques of composition with (others) synthesis of intuitive processes generators - called high intuition or 'the thunderbolt’- and in addition to the traditional European. At all levels, the musical discourse of the work is subject to the same 'moral fall' that affects the text; the techniques are 'deteriorating and falling' together with the forms and the styles; with this, also the idea of beauty, music, poetry, travel from random or memory to concrete political power: the party and the end of the Argentinean party.
Considerations on the original text:
In the poetical construction of the life of the "fish tank", or in the idea of living floating in a bubble, then to have to support the irremediable fall to the emptiness that offers the reality, there is much more that just an attempt to explain the recent history of Argentina.
:Eterna Flotación: Los Monstruito, is divided in:
Act I:
Obertura / Overture
La Tibia Luz / The Lukewarm Light
Comentario I de pecera en banda (baile en el agua)
Melodón absoluto
Aquí reflejo somos
El Camalote
Las Esferas
Preguntas
Momento IX, ¿Jamás sabremos nunca?
Epílogo del primer acto, Pieza rítmica 1 o commentaire.
Act II - Lo Monstruo
Momento XIII: Antes los locos
Momento XIV: Vuelven los negros
Momento XVI: La Barca, Hablemos- (Inlanda)
Momento XVIII: Única tú
Momento XIX: La Murga -Él lo hizo-
Momento XX: Sos un maestro negro!
Momento XXI: Los Linyeras, El río
Act I:
Obertura / Overture
La Tibia Luz / The Lukewarm Light
Comentario I de pecera en banda (baile en el agua)
Melodón absoluto
Aquí reflejo somos
El Camalote
Las Esferas
Preguntas
Momento IX, ¿Jamás sabremos nunca?
Epílogo del primer acto, Pieza rítmica 1 o commentaire.
Act II - Lo Monstruo
Momento XIII: Antes los locos
Momento XIV: Vuelven los negros
Momento XVI: La Barca, Hablemos- (Inlanda)
Momento XVIII: Única tú
Momento XIX: La Murga -Él lo hizo-
Momento XX: Sos un maestro negro!
Momento XXI: Los Linyeras, El río
