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Artikel-Nr. 28240816

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Weitersagen:
 
 
Darsteller:
Marion Grange
Magali Léger
Marc Kissoczy
Passion Selon Marc, La 
 

(DVD - Code 2)
 

Übersicht

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Lieferstatus: 
 i.d.R. innert 7-10 Tagen versandfertig
 VÖ : 
18.04.2019
EAN-Code: 
3760115301528 
Laufzeit: 
87 min.
FSK/Rating: 
o.A. 
Genre: 
Musik 
 
Chor / Klassische Musik
Sprachen: 
English 
Français
Bewertung:  Titel bewerten / Meinung schreiben
Inhalt:
The Passion according to Mark. A Passion after Auschwitz, premiered in April 2017. The project was commissioned to French composer MichaëI Levinas by the Swiss association Musique pour un temps présent, as part of the events commemorating the 500th anniversary of Luthers reform. This original oratorio is not onIy a reinterpretation or a mere revisitation of the Passion - what the many references to Bachs Passions couId lead to beIieve, it painfuIIy faces, indeed, the irreconciIable nature of the Passion and the Holocaust. What is the object of this Passion after Auschwitz, which revoIves around what can link two musicaI traditions, two reIigions that have been separated by barbarism. Which music, which tradition, which Ianguage can the composer use in order to express this doubIe siIence, both historical and theoIogicaI, both human and divine? After the HoIocaust, is it possible to compose without crying and trembIing ?, MichaëI Levinas asks. It is not about anger or compassion. Because of the subtIe polyphonies written for the chorus, the voices and the orchestra, also because of the way the different Ianguages - OId French, Yiddish, Aramaic, German - create meaning out of one another, both the structure and the musicaI language of this Passion are incredibIy intricate. But they are so for a reason: by putting side by side western musicaI traditions and the tragic component of modern history, Levinas manages to shake, during the artistic process, the future of the Holy Language and of the GospeI after Auschwitz. What separates therefore the Gospel of Mark from the Jewish prayer for the dead (Kaddish) or from the EI male Rahamim, or from the two poems by PauI Celan ending the work, is not so much a question of representation, but more accurateIy it is a way to make the tragedy resound, without any artifice and without any safety net.
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