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Bregenz puts his own emphasis on the tango opera "María de Buenos Aires" by Astor Piazzolla. She plays musically with very different styles and lives strongly of the charisma and the voice of Christiane Boesiger
Sometimes sad, sometimes rebellious: Christiane Boesiger like Maria. (Photo: Bregenz Festival)
Astor Piazzolla received a scholarship for a composition course with Nadia Boulanger in 1954 when he was 33 years old and was a well known tango player. He travels from Argentina to Paris and presents his works to famous pieces of music. teachers in which the influences of Ravel, Stravinski, Bartók and Hindemith are felt. She misses her own writing and asks her to play tango on the piano. And then explain to him that it's the real Piazzolla. But he was ashamed to admit that he is a tango musician. "The Tango musician was a big word in my youth.This was the underworld."
The Life of an Unhappy
From this underground world emerges María, the main character of 39; a tango opera composed by Piazzolla in 1968 on a text of the poet Horacio Ferrer and played Saturday night at the Bregenz Festival in the design of Olivier Tambosi had its premiere. The performance at the Werkstattbühne is one of these small events that establish a special route next to the great opera on the floating stage. "María de Buenos Aires" tells the story of a dead woman who goes back one day and walks around this disgusting city and María, "born on a day when God was drunk", did not have much luck in her life, and so she visits the shadows of the city.
Musically, Piazzolla s & ds a lot of luck in her life, and so she visits the shadows of the city. Extends over a wide arc, from the jazz he's experienced in New York to music classical and Argentinean tango Suddenly, a fugue sounds, then a waltz, then a toccata. And everything fits wonderfully well.
Sometimes Maria is sad, sometimes she rebels
What is above all a merit of the artists who gathered on the small stage. On one side, this is the Folksmilch ensemble: Christian Bakanic on accordion, Klemens Bittmann on violin and mandola, Eddie Luis on double bass, who occasionally sings. On the other hand, it is María, the woman in the hat, the leather coat and the fiery red dress. Christiane Boesiger embodies it with confidence, sometimes her voice is sad, sometimes she rebels. The rhythm of the tango crosses like a thread. An expression of the desire that Astor Piazzolla met with his father, who listened to tango records every night in New York and was crying sometimes. The son had Bach in his head.
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