Heliogabal
Bigband opera commissioned by the RuhrTriennial 2003The Ruhr Triennial commissioned Peter Vermeersch and his Flat Earth Society the music for the opera Heliogabal. Heliogabal starts as a new libretto by the young German author Thomas Jonigk. He has drawn hisinspiration from the historical figure with the same name – a child-emperor who met a gruesome end – and has written a contemporary
text about power and mass hysteria, love and narcissism, insanity and calculation.
Thomas Jonigk: 'Just as Michael Jackson once counted his fans in the millions, the 14-year old boy emperor Heliogabalus took Rome by storm. But after only a short while, he became to the Romans what Marlene Dietrich was to the common Germans: public enemy nr 1. What was he accused of? Blasphemy, provocation, arrogance, political betrayal, graft, sexual excesses, prostitution and homosexuality. The border between historical facts and devastating fiction blurs. But this much is clear: the emperor of those times was what is today a super-star. Someone who conveys nothing, but who people can say a lot about. But also a yes-man who appeals to everyone. He becomes foil to the people and creates a sense of identity. Yet he walks a thin line: dull average is too little for the community of fans, citizens or voters, too everyday, too similar, but flamboyant exceptions are too intimidating, too much, too frustrating in the long term. The superstar may allow the possibilities of the extraordinary to shine through only occasionally so that the normality of his or her worshipers not only appears bearable, but even desirable. Britney Spears, both a steadfast virgin and a tongue-rolling sex slut, can sing along to that tune. And she does not even need a voice: the industry loans her one. But being a powerful person, she is at the same time an instrument of power, whose right to speak can also be revoked if she becomes too old or does not sell enough. Heliogabalus' situation was no different. It is the same everywhere for everyone'.
The opera is not only performed by the 17 musicians of FES, but alsoby a mix of opera singers and a group of fine Belgian actors. This international splendid cast with Wim Opbrouck (B), Livia Budai (H), Pieter Embrechts (B), Laurence Janot (Fr), Bernard Van Eeghem (B), Esmé Bos (B), Sara de Bosschere (B), Wim Willaert (B) etc is directed by Roy Faudree. Tomas Jonigk's libretto although based on a historical event in fact becomes a contemporary tale of a ridiculous clash between politicians and celebrities marketed to an all consuming and defenceless community. Heliogabal is a wild musical ride that at times speeds recklessly through the familiar territory, takes you through the dirt tracks behind the scenes and finally dances on a tight rope right back to where it started. The opera is site-specifically designed & staged by No Theater under the direction of the American Roy Faudree for the Gebläse Halle at the Landschaftspark in Duisbourg.
Heliogabal premiered on May 8th 2003 as part of the Ruhr Triennial and started a second life as a concertante with a new cast under the direction of Josse De Pauw, touring through Flanders in September & October 2005.
Heliogabal was registered and released on a double cd by the Flemish classical radio Klara.
CREDITS (REPRISE 2005)
Libretto Thomas Jonigk
Music Peter Vermeersch
Direction Roy Faudree (Josse De Pauw)
Musical assistance Koen Kessels (and Andrew Wise)
Choreography Inaki Azpillaga Camio
Dramaturgy (Griet Op De Beeck)
Cast Livia Budai (Madiha Figuigui), Larence Janot (Sylvie De Pauw), Ursula Hesse von den Steinen (Annique Burms), Esmé Bos, Sara De Bosschere, Stephan Bootz (Keith Tillotson), Wim Opbrouck, Bernard Van Eeghem, Pieter Embrechts, Flat Earth Society Orchestra
Production Rurh Triennale (Het Toneelhuis)
PHOTOS Ruhr Triennal 2003
PHOTOS Reprise 2005
REVIEWS
New York Times
Mr Vermeersch's score, far removed from the historicized big-band sounds one mostly hears these days in the United States, sounded fresh, inventive and witty.
Volkskrant
A trumpet that hesitates, a sax that moans, toils and moils, till the rest falls in and the musicians get everything out of their instruments. The cheerful cacaphony goes over in a swinging rhythm, and what seemed to be a circusorchestra turns into a perfect bigband.
Mr Vermeersch's score, far removed from the historicized big-band sounds one mostly hears these days in the United States, sounded fresh, inventive and witty.
Volkskrant
A trumpet that hesitates, a sax that moans, toils and moils, till the rest falls in and the musicians get everything out of their instruments. The cheerful cacaphony goes over in a swinging rhythm, and what seemed to be a circusorchestra turns into a perfect bigband.
