Intolleranza 1960
| Work data | |
|---|---|
| Title: | Intolleranza 1960 |
| Original title: | Intolleranza 1960 |
| Original language: | Italian |
| Music: | Luigi Nono |
| Libretto : | Luigi Nono based on an idea by Angelo Maria Ripellino |
| Premiere: | April 13, 1961 |
| Place of premiere: | Venice |
| Playing time: | approx. 1 ¼ hours |
| Place and time of the action: | Fictional places in the present |
| people | |
Intolleranza 1960 is a "scenic plot in two parts" ( Italian Azione scenica in due tempi ) by Luigi Nono based on an idea by Angelo Maria Ripellino . The year in the title refers to the time of creation. The libretto was created using documentary and lyrical texts, among others. a. Julius Fučík's report was written under the head , Henri Alleg's La question ( The Torture ) with Jean-Paul Sartre's introduction, Paul Éluard's poem La liberté , Our March by Vladimir Mayakovsky and Bertolt Brecht's To the Born Later . Luigi Nono's first work for the opera stage is a fiery protest against intolerance and oppression and the violation of human dignity. It was a work for the Venice Biennale in 1961, commissioned by its director Mario Labroca. The premiere took place under the direction of Bruno Maderna on April 13, 1961 at the Teatro La Fenice in Venice . The set was designed by the well-known painter Emilio Vedova , a friend of Nono's. The premiere wasdisruptedby neo-fascists who shouted “ Viva la polizia ” (“Long live the police”)during the torture scene. Nono's opponents accused him of poisoning Italian music.
Interpretation of Nono
Nono himself interpreted the statement of his work as follows:
“Intolleranza 1960 is the awakening of human awareness in a man who has rebelled against the demands of neccesity - an emigrant miner - and searches for a reason and a 'human' basis for life. After several experiences of intolerance and domination, he is beginning to rediscover human relations, between himself and others, when he is swept away in a flood with other people. There remains his certainty in 'a time when man will be a help to man'. Symbol? Report? Fantasy? All three, in a story of our time. "
action
First part
Coro iniziale : instead of an overture, a large introductory chorus sounds with the curtains closed, a cappella with life and being alert
1st scene: In a mining village
A guest worker ( emigrant ) is tired of working in a mine in a foreign country. He is consumed by the longing to return to his homeland from which he once fled.
Scene 2: A woman rushes in
A woman who had given the stranger in the miners' village warmth and calm and who loves him tries to persuade him to stay. When she realizes that her lover is determined to leave, she berates him and swears revenge. Nevertheless, the migrant leaves them and makes their way back.
3rd scene: In a city
He has reached a city where a large unauthorized peace demonstration is taking place. The police intervened and arrested some demonstrators, including the emigrants, even though he was not involved in the rally. His attempt to defend himself is unsuccessful.
4th scene: In a police station
Four police officers do their best to get the arrested man to make a confession. But the man maintains that the only way to get to his home is through this city and that he therefore has nothing to confess.
5th scene: The torture
All those arrested are tortured. The choir of the tortured calls out to the audience whether they are deaf and just want to behave like cattle in the pen of shame.
Scene 6: In a concentration camp
The chorus of prisoners desperately calls for freedom. The four gendarmes mock their victims. The hero befriends another prisoner from Algeria. Together they plan their escape.
7th scene: After the escape
He manages to break out of the concentration camp together with the Algerian. Originally it was only the emigrant's wish to see his homeland again, but now the only thing that flames in his heart is the longing for freedom.
Second part
Scene 1: Some absurdities in life today
Voices and on the hero penetrate from all sides, which not only disturb and confuse him, but almost overwhelm him. The absurdities of today's life, such as bureaucracy - e.g. B. “Registration required!”, “Documents are the soul of the state!”, “Certify, authenticate, authenticate!” - and sensational newspaper advertisements such as “Mother of thirteen children was a man!” Increase and the scene ends with a big one Explosion.
2nd scene: meeting of a refugee and his companion
A silent crowd suffers from the impact of the slogans and the explosion. When a woman begins to speak out against war and calamity, she appears to the emigrant as a source of hope in his loneliness. From now on, the two want to fight together for a better world.
3rd scene: projections of episodes of horror and fanaticism
The woman whom he left in the mining village appears to the hero and confuses him. Together with his companion ( compagna ) he sends her away. Then the woman and with her a group of fanatics turn into ghosts and shadows. In the dream the migrant sees the mine, the mocking slogan “Work makes you free” above the entrance to the concentration camp. He and his companion counter the nightmares of intolerance with “Never, never again!”. The choir starts Mayakowski's Our March .
Scene 4: Near a village on the bank of a large river
The hero and his companion have reached the great river that forms the border of his homeland. It leads to high water and its level is rising more and more. The deluge swallows streets, breaks bridges, crushes barracks and houses. Even the migrant and his companion fail to save themselves. You die an agonizing death.
Coro finale : also without orchestral accompaniment, with excerpts from B. Brecht's poem An die Nachgeborben
Web links
Individual evidence
- ^ Ripellino had published Mayakovsky and the Russian Avant-Garde Theater in 1959 . The "great mediator of Slavic literature in Italy" (Stenzl) wrote an extensive textbook for Intolleranza. It came to a rift when Nono massively shortened, reworked and added to the libretto. Jürg Stenzl: Luigi Nono . Rowohlt, Reinbek b. Hamburg 1998, pp. 53-58.
- ^ Dietz, Berlin, 1948. F. Rausch, trans.
- ↑ Nono used stanzas 7, 8, 4, 16, 19.
- ↑ Matthew Boyden, Nick Kimberley, Joe Staines: The Rough Guide to Opera . 3. Edition. Rough Guides, 2002, p. 550.
- ↑ Based on the booklet of the CD Intolleranza , Teldec 4509-97304-2, p. 10; quoted from Raymond Fearn: Italian Opera Since 1945 . Harwood Academic Publishers, 1998, pp. 79-80.
- ↑ AM Ripellino's poem Vivere e stare svegli (Live and be alert). AMR, Non un giorno ma adesso , Grafica, Rome, 1960. Cf. Luigi Nono: Some more detailed information on “Intolleranza 1960” (originally 1962). In: Jürg Stenzl (Ed.): Luigi Nono, texts, studies on his music . Atlantis, Zurich / Freiburg 1975, pp. 68–81, here p. 70.
- ^ Alfred Andersch translated in the German Partitur edition, but not in his draft emigrante mit refugee . Luigi Nono, texts, studies of his music , Jürg Stenzl (ed.), Atlantis, Zurich, 1975, LN (1962), Luigi Nono: Some more detailed information on “Intolleranza 1960” (originally 1962). In: Jürg Stenzl (Ed.): Luigi Nono, texts, studies on his music . Atlantis, Zurich / Freiburg 1975, SS 69, [note] 1.