A Sydney Chamber Opera production commissioned by Sydney Opera House, enabled by Prof Ross Steele AM
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Director's Notes A man meets a woman by chance. They share a fleeting moment of connection. A brief fleeting moment. She then leaves and goes on with her life. He does not. He remains transfixed and stuck. His captivation turns to obsession. He is unable to think of anything but her. He is unable to live without her. We have heard this story all too many times before. Seeming gestures of love, generosity and compassion have the power to lure one into the promise of romance – yes – but what is often not spoken of is the slippery slope to delusion and the desire to control that an unbound pursuit of this ‘ideal’ may induce.
Janáček's Diary of One Who Disappeared is a hauntingly beautiful song cycle that, when viewed in our contemporary world, demands us to shine light on the toxicity of the romantic ideal that the possession of another will help one escape from the mundanity of one's own existence. - Alexander Berlage, Director & Lighting Designer
Program Notes Leoš Janáček (1854 - 1928) was probably born half a century too early. It wasn't until well into the second decade of the twentieth century that his mature voice emerged and by then he had barely 10 years to live. The song cycle Diary of One Who Disappeared (1917-19) is the beginning of this extraordinary final decade of composition and in performing it, I am constantly astonished at the audacity of its musical invention and freshness of its language.
Music's great late-starter here gives us a collaged series of 22 song-fragments almost entirely without traditional development, methods of repetition or logical sequences. The piece is thus in a constant 'present tense': immediate, electric and desperately communicative. Janáček seems content to trace the simple story of Janik's obsession with Zefka in densely-packed musical shards of experience, as if we are listening to a story told in constant cinematic cross-cut. Conflicting thoughts and emotions are part and parcel of this language and the voices and piano are forced into the service of a new kind of music drama. There is some very strange piano writing in particular that shows Janáček straining at the limits of the instrument to produce attack and resonance effects far beyond the accepted sound of early 20th century pianism. The tenor part requires a voice capable of real lyric singing as well as rhythmic exactitude, an enormous range and the ability to toss off the Czech language almost as a percussive effect. The mysterious Zefka is given a 'backing chorus' of three offstage female voices that define the slow, dreamlike middle part of the piece and drive its sense of time to stasis. The centre of the cycle is an extended dramatic piano solo which seems to articulate all manner of hidden desires in a series of juddering rhythms, snatches of half-remembered melody and stark silences.
Unclear from the start as to the genre of the piece, Janáček also provides lighting and movement directions in the score which have subsequently given license for it to be staged; a kind of prelude to the four great operas he was to produce in close succession until his death.
In these times of physical health restrictions, this work is an ideal fit to be staged and filmed: the two singers never sing at the same time, the 'chorus' practically invites pre-recording, there is only a single piano as accompaniment and the wary obsession of the tenor role never clearly comes into contact with the object of his desire – a love story in which physical touch is just out of reach. - Jack Symonds, Artistic Director, Sydney Chamber Opera
Artists Janik Andrew Goodwin Zefka & Chorus Jessica O'Donoghue Piano Jack Symonds Director & Lighting Designer Alexander Berlage Set & Costume Designer Jeremy Allen Dramaturg Bernadette Fam
Musical Assistant Huw Belling
About Sydney Chamber Opera
Sydney Chamber Opera is a fresh and youthful answer to some of the difficult questions facing today’s opera industry. A resident company at Carriageworks, SCO is critically acclaimed for its innovative programming, musical rigour and strong focus on compelling theatre-making.
SCO's program is a balance of specially commissioned work by leading homegrown composers, the latest international operas in their Australian premieres, song cycles and cantatas in unusual stagings, and canonical repertoire reinvigorated by the country’s most daring theatrical talent.
This production was supported as part of Carriageworks 2020 In Development Program and commissioned by Sydney Opera House as part of the New Work Now program enabled by Prof Ross Steele AM.
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