Karlheinz Stockhausen
Montag aus Licht
novembernov 29
© Hervé Escario ©
© Hervé Escario ©
© Hervé Escario ©
Saturday november 29
18h
Karlheinz Stockhausen (1928–2007)
Montag aus Licht (Monday of Light, 1984–1988)
Opera in three acts, a greeting and a farewell
Music, libretto, actions and gestures by the composer
Cast 21 soloists (fourteen voices, six instrumentalists and one actor), 21 actresses, choir (tape or live), children's choir, girls' choir, modern orchestra (3 synthesizers, percussion and electronics), conductor and sound projection
Publisher: Stockhausen Verlag
Stage premiere: Milan, Teatro alla Scala,7 May 1988, directed by Michael Bogdanov, sets by Chris Dyer and costumes by Mark Thompson, conducted by Péter Eötvös (Act I), with Karlheinz Stockhausen as musical director and sound projection director
Act I
Michiko Takahashi, Marie Picaut, Clara Barbier Serrano sopranos – Eve in the form of three women
Florent Baffi bass – Lucifer, Lucipolype
Elio Massignat actor – Lucipolype
Josué Miranda, Safir Behloul, Ryan Veillet tenors – The Sailors
Act II
Iris Zerdoud Buffet Crampon basset horn on loan from La Fugue – Basset heart
Joséphine Besançon and Alice Caubit basset horns – Busi and Busa
Pia Davila soprano – Muschi
Alphonse Cemin piano – The Parakeet-headed Pianist
Act III
Claire Luquiens flute – Ave, The Child Abductor
Iris Zerdoud basset horn – Basset Heart
Modern orchestra: Bianca Chillemi, Chae-Um Kim, Sarah Kim, Alain Muller and Haga Ratovo, keyboards; Akino Kamiya, percussion; Mathieu Adam, trombone
Le Balcon
Orchestre de Paris Choir, conducted by Richard Wilberforce and Pierre-Louis de Laporte
Jeune Chœur des Hauts-de-France, conducted by Pascale Diéval-Wils
Maîtrise de Radio France, conducted by Sofi Jeannin
Maîtrise de Paris, conducted by Pierre-Louis de Laporte
Trinity Boys Choir, conducted by Nicholas Mulroy
Maxime Pascal musical direction. Silvia Costa staging, set design, costumes. Luna Scolari assistant director. Davis Hart assistant set designer. Étienne Démoulin, Augustin Muller and Romain Vuillet computer music production. Florent Derex sound projection. Nicolas Widmer sound management. Lila Meynard lighting. Sébastien Böhm lighting management. Nieto and Claire Pedot video creation. Yann Philippe and Baptiste Klein video management. Marguerite Lantz and Cédric Tirado costume design. Maud Lemercier-Caudrillier costume assistant. Léopoldine Bouquillion, Cécile Pineau, Pryscille Pulisciano seamstresses. Eugénie Dauptain prop master. Margot Vicenté costume intern. Anne Lebouvier and Timon Nicolas production management. Mateo Vermot and Victor Le Borgne orchestra management. Camille Lézer stage management.
Co-production Le Balcon; Opéra de Lille; Philharmonie de Paris; Festival d’Automne à Paris
With the support of the Fondation Singer-Polignac and the Ernst von Siemens Music Foundation
With the support of the Ernst von Siemens Music Foundation, the Singer-Polignac Foundation and the Société Générale Corporate Foundation
Le Balcon, the Philharmonie de Paris, the Opéra de Lille and the Festival d’Automne à Paris are co-producers of this production.
The Philharmonie de Paris and the Festival d’Automne à Paris present it in co-presentation.
For your convenience, adapted seating may be available. We recommend that you purchase your concert tickets in advance, specifying any special needs you may have, from the Cité de la musique - Philharmonie de Paris at the time of booking, by telephone on 01 44 84 44 84 or by e-mail at accessibilite@philharmoniedeparis.fr.
With the support of
In the vast Licht (Light) cycle, to which Karlheinz Stockhausen devoted twenty-five years of his life, Monday is the day of Eve. The work, a sumptuous and poetic "musical ceremony in reverence to the mother", celebrates fertility, childbirth and the perpetual rebirth of humanity, as well as the child and the constantly-renewed beauty of the universe.
Monday from Light is one of Licht's most ambitious days. Composed for a plethora of voices (solo voices, instrumental soloists, actresses, actors, choir, children's choirs, and a so-called “modern orchestra”), the work, in three acts, is both greeting and farewell. Part of the Licht spiral, a symbol of growth and continuity between the here and now and the hereafter, it is carried along by a powerful movement of spiritual elevation. Water, as a life-giving, amniotic source, and matrix fluid, filters into the piece in multiple forms: sea, rain, hail, ice, steam, damp earth with green grass, glass-like water sculptures, and clouds. Then, at the end of the last act, Eve transforms into a mountain, with bushes, shrubs, plants, streams and animals spreading from her skin. At the same time, white birds slowly flap their wings around her. The piece is both song of the earth and flock of bird-children.
In the same place
