Karlheinz Stockhausen
Montag aus Licht
novembernov 29
© Hervé Escario ©
© Hervé Escario ©
© Hervé Escario ©
Saturday november 29
18h
Karlheinz Stockhausen, Montag aus Licht (1984–1988)
Karlheinz Stockhausen music, libretto, actions and gestures
Iris Zerdoud basset horn – Heart of Basset
Claire Luquiens flute – Ave, the child abductor
Joséphine Besançon, Alice Caubit basset horns – Busi and Busa
Pia Davila soprano – Muschi
Damien Pass bass – Lucifer, Lucipolyp
Alphonse Cemin piano – the parakeet-headed pianist
Modern Orchestra: Bianca Chillemi, Sarah Kim, Alain Muller keyboards. Akino Kamiya percussion.
Le Balcon
Choir of the Orchestre de Paris
Jeune Chœur des Hauts-de-France
Soloists of the Trinity Boys Choir
Maîtrise de Radio France
Maxime Pascal musical direction
Silvia Costa stage direction, set design, costumes
Étienne Démoulin, Augustin Muller, Romain Vuillet electronic music realisation. Florent Derex sound projection. Lila Meynard, Bertrand Couderc lighting. Nieto, Claire Pedot video. Rosabel Huguet Dueñas assistant stage director. Davis Hart assistant set designer. Sabine Schlemmer, Marguerite Lantz costume assistants.
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
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.
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