gerelateerde werken

octavia. trepanation : Opera based on the tragedy "Octavia", attributed to Seneca and Trotsky's essay on Lenin / Dmitri Kourliandski; libretto: Boris Yukhananov and Dmitri Kourliandski

Genre: Opera, muziektheater
Subgenre: Opera
Bezetting: soloists GK4 tape

The piano teacher : a mini opera for children, to be performed by a speaking pianist and two mime players, 1991 / libretto: Fer Bank, Jacques Bank

Genre: Opera, muziektheater
Subgenre: Opera
Bezetting: pf(recit) 2actors

Noach : opera in 5 aktes, voor sopraan, basbariton, vier boventoonzangers en instrumentaal ensemble, 1991-1993 / libretto: Friso Haverkamp, Guus Janssen

Genre: Opera, muziektheater
Subgenre: Opera
Bezetting: recit sopr bas-bar 4overtone singers 0011 2sax 1110 perc drum hp g(el.g) pf 2vl vla vc cb electronics dancers

Eline : Opera / Erik Lotichius; text by the composer

Genre: Opera, muziektheater
Subgenre: Opera
Bezetting: Eline: Mezzo-soprano; Fabrice/Otto: Baritone; Couperus: Baritone. Ensemble: Flute/Piccolo; Clarinet/basClarinet; Horn; Violin; Piano; Double-bass; Percussion: Timpani; Cymbal; Tambourin; Triangle; Bells

compositie

octavia. trepanation : Opera based on the tragedy "Octavia", attributed to Seneca and Trotsky's essay on Lenin / Dmitri Kourliandski; libretto: Boris Yukhananov and Dmitri Kourliandski

Overige auteurs:
Kourliandski, Dmitri (Componist)
Toelichting:
In conducting our trepanation of revolution, we open a forehead and discover death, blood and tiranny. We sanitize it and graft a Buddha into the cavity, then we sew the forehead back up. We remove the source of the bloody revolution to seal off the notion of war forever. We transform a tyrant and send him to Nirvana.
Boris Yukhananov

The Opera’s music is based on the opening phrases of the revolutionary song Varshavyanika, but streches them out in almost 100 times. The temporal transformation of the song reveals various harmonic and melodic metamorphoses that become “nutritional material” for the 80-voice chorus, soloists and live electronic music thus arises a hermetic, self-referential construction that feeds on itself.
Dmitri Kourliandski