There is no death without love: the successful duo Romeo Castellucci/Raphaël Pichon presents a baroque opera in Amsterdam that couldn’t be more modern. With streams of fake blood, but also an urgent message to humanity.
Love and Thanatos. „The Tears of Eros““Tears of tenderness” (from the last title of Georges Bataille’s book) are combined, for example as a demonstration of the power of the Medici at the Dutch National Opera, with the early baroque music of Claudio Monteverdi, Giulio Caccini, Jacopo Peri and many others, almost forgotten composers with beautiful, but also brutal, sometimes disturbing images. Grouped into six thematic “books” that last only 105 minutes and are called “Love Machine”, “Purification of the Blood” or “Counterworld”. “Books”, as the collections of madrigals, polyphonic songs, dances, refrains, intermedia were then called, which in central Italy became the starting point of something that was to relaunch the Greek theater festivals as a rebirth of the scene – and the one that most it was later called an opera.
However, if you hire Romeo Castellucci for a musical theater project, you should keep two things in mind: the work in question should not last much longer than 90 minutes, and it should be as abstract as possible. The rest usually only happens between the main test and the first one anyway. Pierre Audi took this into account in an exemplary way for his first festival season in Aix-en-Provence in 2019, when he set Castellucci, like the much sought-after conductor Raphaël Pichon, together with his choir and ensemble Pygmalion, on the Mozart’s opera Traccia del Requiem.
Plastic pipes and bagpipes
In addition to the almost 70 minutes of unfinished requiem mass, some other, mostly unknown, compositions by Mozart have been added to the famous still touring production, which has now also been released on CD. And what you saw on stage, first black, then white and finally dirty with dirt, was a celebration of life, even if it was always about loss.
Dying to be resurrected: with Castellucci and Pichon the funeral ceremony becomes a touching celebration of the ephemeral. And while Castellucci failed in Brussels after two parts with a completely hypertrophied concept of “Ring of the Nibelung” (and Pierre Audi would complete it as a stand-in) because the limits of what was possible on a theater stage had been reached, the Italian Universal artist has now turned his attention to The Most Sensible Thing once again revealed himself to be an effects wizard. Also and above all in association with the French musical wizard, whose sublime chorus you will want to listen to for hours.
With a delay of two and a half years due to Corona, “Le Lacrime di Eros” is now only the second joint production of these Dioscuri, who complement each other so perfectly. Again the music is a bit alienated acoustically, with reverb, but also with modern compositions by Scott Gibbons, with birdsong and squeaks. But the choir as well as the four exquisitely intense, yet individual soloists Jeanine de Bique, Gyula Orendt, Katja Ledoux and Zachary Wilder delve deep into the human soul with this casual and precisely placed score, revealing the ambivalence of their emotions.
Blood flows through plastic tubes that hang from the ceiling like an abstract pumping piece of furniture, the serpent of temptation clings to a floating ring. Vital water can cause severe pain and during baptism serves as a fluid connection with the divine. Shirts and sheets are soaked and soaked in blood, then liquids on the floor are simply removed with two electrically rotating sweepers. Dolls have sex. two lovers evoke their lust and self-forgetfulness. Yet they kill each other in a terribly lonely and practical, Tristanesque way, through the exhaust fumes of each other’s cars, which are directed into their own limousines.
This is the final image of a traveling exploration of the unspeakable, which becomes a theatrical reality through this distantly whispered, infinitely transparent and melancholy music. Rafaël Pichon places dramatic accents, but everything remains in a calm and ephemeral flow. There is nothing torn and jagged. This way of interpreting calms you down and at the same time makes you pay attention and listen with interest. And she raises this music to a new, unprecedented level, even through very ancient instruments such as the viola da bra, the dulcian, the ciaramella or the bagpipe.
Rafaël Pichon had already considered it acoustically a few years ago in the recording project “Stravaganza d’Amore!”, and now it has become a total work of art. But “The Tears of Eros”, which will now certainly be invited by many co-producers, is also an accusation, a meditation, an analysis, a surprise. A kaleidoscope of fragments of the soul, a sung and played mosaic of humanity. Not as exciting as Mozart’s Requiem with its folkloric dances and dresses, but more distant, cold, aseptic – but still captivating and intense with its calm and rigorous course of images.
Another evening in which these two visionaries wander into the transcendent, in which poetry and sound have equal importance – just as then with the opera, which was still aimless and had to create a spatial basis for reception.
How do the visual elements in “Le Lacrime di Eros” enhance the opera’s emotional impact?
Interview between Time.news Editor and Expert on “Le Lacrime di Eros”
Editor: Welcome, and thank you for joining us today. Let’s dive right into the sensational collaboration between Romeo Castellucci and Raphaël Pichon for “Le Lacrime di Eros.” This production has been described as a modern, baroque opera—could you explain what this juxtaposition of styles means?
Expert: Absolutely! The term “baroque” typically evokes grandiosity, emotional expression, and intricate detail, whereas modern interpretations often strip away excess to expose raw truths. Castellucci and Pichon have managed to blend these aesthetics beautifully. While they employ the sumptuous sounds of early baroque composers like Monteverdi and Caccini, they frame it within a contemporary discourse on love and mortality, embodying what could be considered a ‘baroque minimalism.’
Editor: That’s fascinating! I’ve read that the opera presents themes of love and death—commonly referred to as Love and Thanatos. How do the creators convey this duality throughout the performance?
Expert: The thematic exploration goes beyond the typical romantic narrative. “Le Lacrime di Eros” not only showcases passion but also embodies the intertwining of ecstasy and agony. For instance, the imagery of fake blood is powerful; it’s visceral, representing both the beauty and brutality of human connection. The use of blood—flowing through plastic tubes like a grotesque work of art—serves as a potent metaphor for life, love, and the inevitable pain that accompanies them.
Editor: The visual aspects sound striking. How does the staging enhance the themes of the opera?
Expert: Castellucci is renowned for his pioneering and abstract staging. In this production, graphic visuals like the ‘serpent of temptation’ clinging to floating rings juxtapose sensuality with danger. The scenes that depict lovers engaging in acts of passion, intertwined with violent undertones, create a complex emotional landscape. These stark contrasts draw the audience in, provoking reflection on the darker facets of desire.
Editor: The collaboration between Castellucci and Pichon has been noted as a perfect complement. How does their partnership influence the overall experience of the opera?
Expert: Their synergy is remarkable. Pichon’s direction of the choir and ensemble brings a unique dynamism. The choral elements elevate the emotional resonance of the narrative. While the music itself incorporates modern compositions—like Scott Gibbons’ unsettling sounds—Pichon ensures that the early music foundations remain intact. This blend allows the emotional depth of the characters to emerge powerfully, making the audience ponder the complexities of their experiences.
Editor: Given the delays caused by the pandemic, do you think the anticipation has amplified the audience’s reception of “Le Lacrime di Eros”?
Expert: Definitely. The long wait has built a sense of longing and curiosity. The themes explored in this production resonate with many, particularly in the context of loss that we have collectively experienced during the pandemic. Thus, the urgency of the message—come to terms with our emotions, understand our interconnectedness—hits home even harder now.
Editor: Lastly, what do you believe the audience will take away from this performance?
Expert: I think audiences will walk away with a deeper appreciation for the complexity of human emotions. “Le Lacrime di Eros” is not just an opera; it’s an experience that challenges perceptions of love, loss, and the human condition. It invites introspection about the very essence of life. To witness such a vivid portrayal of these profound themes is both a blessing and a call to action, reminding us of our humanity.
Editor: Thank you for this insightful conversation! It seems “Le Lacrime di Eros” promises to be a compelling fusion of visual art, music, and emotional exploration.
Expert: It truly does! I can’t wait to see the impact it has on its audience.