With the collaboration of:
Project management and artistic director Joan Font (Comediants) Direction assistant Jordi Pérez Solé Collaboration Helena Moliné
La Vinya ______________________________________________ Canet de Mar _____________________________________ Novembre 2012
MOZART’S MASQUERADE The show originates from three very special, and relatively unknown, pieces that Mozart originally composed for pantomime and ballet as a divertimento that illustrates human relationships through love and heartbreak. Through his music and notes, he demonstrates his ingenious insight and timeless vision of the human soul. This musical and drama proposal is divided in to three separate parts each with their own aesthetic entity, and unified through a lietmotif surrounding the relationship between Harlequin and Colombina. Total length of musical part: 70 min. Stage proposal: 70 – 80-‐ 90 min.
Pantalone and Colombina
• Music for pantomime (K.446 Vienna, 1783. • 28 min divided in eight short scenes.. • Composed to be performed for the ﬁrst Lme on Carnival Monday in Redoutensaal of HoNurg, Vienna. With a pantomime, created by Mozart himself, in wich he ridicules part of the nobility of the Lme.
• Music for Ballet-‐ pantomime (K.229c) Paris, 1778. • 20 min divided in eight parts. • Piece of youth, commissioned by choreographer Jean George Noverre, an intermezzo of an opera. Inﬂuenced by the French arrogance, it helps him to showcase his talent and try to make a name for himself in the rich musical life of Paris.
Les peWts riens
• Music for Ballet-‐ pantomime (K.229b/ K.aap.10) Paris, 1778 • 21 min divided in twelve parts. • Composed in Paris also commissioned by Noverre to accompany Piccini’s opera “Le ﬁnte genelle”. The criLcs acclaimed it more than the opera.
Scenic toy in three acts from Mozart’s musical base, which combines different worlds and aesthetic languages.
Objec and artefacts
VISUAL MUSIC SHOW
Mozart’s music moves us, provokes us, shocks us and teaches us, too. With great ludic and educational component, this auditory and visual adventure opens us the door to new musical expressions and immerses us into different stage languages; Commedia dell’arte, dance, pantomime, magic, acrobatics, puppets, shadows… and the first silent cinema. A wonderful Mozartian journey through the different ways of communication and performance.
Passion for pantomime Taking into consideration his music and the correspondence between the composer and his peers, we know that Mozart was seduced by masquerades, pantomime and dance. He composed and even liked acting in them, especially interpreting the fun and inventive tightrope walker Harlequin, his alter ego. Through his brilliant, visionary and universal music, Mozart interprets the conflicts and fragilities of human beings in relation to love and heartbreak, here articulated dramaturgically through the three pieces. “Pantalone And Colombina”, Mozart wrote the script of the pantomime that ridiculed a part of the nobility of his time. Of the original script only the violin section was preserved and Franz Beyer reconstructed the orchestration, originally composed for a string quartet.
“We have presented our mask company on the Monday of Carnival to the big Masquerade. It consisted of the representation of a pantomime that filled a half hour break. My sister in law was Colombina. I was Harlequin. My brother in law, Pierrot. A dance teacher, Pantalone. And a painter, Dottore. The idea of the pantomime and the music were both mine. And I can guarantee we performed it with considerable mastery.” Vienna, March 12, 1783. Mozart's letter to his father.
The other two pieces, “Ballet Intermezzo” and “Les petits riens”, relate to a stay the composer had in Paris, cut short by his mother's death. They were originally conceived for ballet -‐as an assignment from Jean George Noverre, a well-‐ known choreographer-‐ with a strong presence of pantomime and interpretation. It is perceived in them the juvenile and danceable character of the composer. “Ballet Intermezzo” was found unfinished in the composer’s manuscript which was written during his stays in Paris and Berlin and reconstructed later on by Erick Smith. While “Les Petits riens” was acclaimed by the critics, even more than the opera itself. Both pieces belonged to a new trend known as Ballet of action -‐promoted by the Noverre and Diderot-‐ which shunned the simple technical virtuosity to fill the intervals during the operas, empowering the pantomime and the interpretative and plot character of the ballet.
6 performers actors/actresses, dancers and acrobats.
VISUAL MUSICAL SHOW
With a stage length of 75-‐80 minutes (adding the Harlequin’s links between pieces).
4 musicians they are part of the scene.
MEDIUM LARGE FORMAT
Perfectly extendable to a medium and large format, extending up to 90 minutes, increasing the cast of performers and musicians, always with the intenLon that the laler take part in the scene, at least some of them.
Subject The main subject of the show is the conflict of love between nature and civilisation, posed by Mozart in the piece “Pantalone and Colombina” -‐of which we respect the script and this theme will continue in the other two pieces. •
The nature is embodied in Harlequin -‐alter ego of Mozart-‐ who represents freedom, questioning of rules, a “Peter Pan attitude” and the fear of jumping into a relationship with Colombina which would place him in jeopardy. The civilisation represents respect for rules, security and commitment, which is what Colombina would want to find within love and also Pantalone -‐in a different way-‐, Pierrot, Dottore and Turkish.
This universal subject takes different shapes along the three staged periods-‐through the evolution of technology and communication in human relationships and with an increasing break of the barrier of space and time. From on-‐site to virtual communication, the relationship among the characters evolves along the three periods. Only Harlequin, from his playful distancing from history, will keep himself out of the progressive virtualization of the relationships among all the other characters.
It moves to the early nineteenth century with devices like the magic lantern, the appearance of the telephone, the ﬁrst cinema and new magical gadgets of fair stalls. Musically evoked with the introducLon of the mechanical player piano of fairs. These developments lead to the space crisis, it starts to be unnecessary the presenLality in relaLonships among people, which opens the door to immaterial communicaLon. It allows people to be in contact and communicate with each other being in diﬀerent areas.
"Les peWts riens"
Located at the same Lme when Mozart performed it for the ﬁrst Lme in 1783 as part of a masquerade of the Viennese Court. Music transports us to this aestheLc universe respecLng the original librelo, where human relaLonships are physical and the concepLon of space and Lme is in-‐person.
“Pantalone and Colombina”
Three periods and three different styles will illustrate to us the three points of view that will prove how human-‐beings are always moved by the same threads and desires through three different types of aesthetic universes; expression, movement, technology of the image, poetics around the basic and universal subjects of love, heartbreak and greed. All joined together by universal and timeless comicalness.
We place it in a near future of the twenty-‐ﬁrst century, where technological development leads to the emergence of a new kind of relaLonships among people. The music, while respecLng the original score, also evolves and absorbs this technological nature. A new “liquid” communicaLon, with a breakup of tradiLonal, spaLal and temporal barriers, where presenLality is no longer necessary. The heterogenic space arises, consisLng of a network of ﬂows that promotes a set of more volaLle human relaLonships. Simultaneous, ephemeral and liquid communicaLon networks appear, but these will never replace the necessary physical, in-‐person and real contact among people. 7
Synopsis Along these three pieces it is explained the impossible love story between Harlequin and Colombina whose father tries to force her into marrying a rich suitor. Vicissitudes revolves around Colombina's suitors and the obstacles Harlequin tries to put in place due to his platonic love for her. However, he is unable to express his love until the end. Harlequin, as an alter ego of Mozart, is the guide of three stories trying to impress Colobina. He will orchestrate, guide and pull the strings of the three stories as an entertainment to finally achieve Colombinas love.
“PANTALONE AND COLOMBINA” 28’
Instrumentation: it respects the original style of the score with a new orchestration: violin, violoncello, transverse flute, harpsichord and, occasional elements of percussion. The musicians are also characters of Commedia dell'arte that go with the action. Occasionally directed by Harlequin, alter ego of Mozart, they both play around simulating that they extemporize/improvise the music as it was done in the Commedia dell'arte.
Synopsi: Harlequin helps Colombina, whose father Pantalone wants to give her in marriage to the rich Dottore, to break this agreement and leave with her Turkish lover.
Scenic concept: From the Commedia dell'arte aesthetic and a scenic game always in three dimensions, presence and physical actions are enhanced between the characters, with classical masks, objects and puppets with a colorful universe. Harlequin breaks the fourth wall, guiding the story with the complicity of the public, as if he was Mozart himself. The spatial and temporal conception is material with a physical and presently communication. The musicians are part of the scenery, represented by some spatial element that is representative of its period.
Characters: Colombina, Harlequin, Pantalone, Dottore, Pierrot and the Turkish with the mask and the classical customes of Commedia dell'arte. They represent what they are in their classical world. Colombina is a sensual dancer, Harlequin an agile character, young, smooth talker, fun, who plays with everybody and laughs at all. Pantalone is an old miser who wants to marry his daughter not for love but for money, Dottore is an aristocrat gentleman, rich and a little bit “silly”, Pierrot is a dreamer, and the Turkish an exotic character-‐extravagant-‐seductive, who is all appearance.
MOZART’S MASQUERADE Title
1. Allegro opening
Argument between Pantalone and Colombina.
Fight keeps going more and more heated. Dottore arrives to take Colombina away.
3. Poco adagio – Andante molto
Harlequin offers his help to the sad Colombina.
4. Adagio-‐Allegro-‐Alegro assaig
Harlequin prevents Dottore and Pantalone signing the marriage contract.
5. Allegro maestoso-‐Larghetto
Dottore comes back ready to fight and the handsome Turkish appears.
Colombina is captivated by Turkish. Dottore angrily reacts, Harlequin confronts him and Dottore stabs him with a sword.
They are all shocked and reproach Dottore. Funeral march for Harlequin.
8. Finalle presto
Suddenly, Harlequin stands up, making Dottore be portrayed (as guilty), but this is not enough to win Colombina’s heart, who is still captivated by Turkish and his magic tricks. Final dance.
MOZART’S MASQUERADE “BALLET INTERMEZZO” 20’
Instrumentation: We respect the score but it gets impregnated from the beginning of the XIX Century with a fair mechanical player piano that is added to the violin, violoncello, transverse flute and punctual elements of percussion, such as the tambourine and triangle in the original score. The musicians are robots next to the mechanical player piano.
Synopsi: Harlequin tries to impress Colombina moving the story to beginning of XIX century, with the magic lantern, the first cinema and the magical gadgets of fair stall. With the possibilities of this magic universe, Harlequin will try to seduce Colombina, clever deterring her from the Turkish and his marriageable pretensions of his father Pantalone with the Dottore. However, she will not be able to avoid that Pierrot takes her away.
Scenic concept: The scenic game goes on from the multiple magic possibilities of the shadows, the clippings, the primary projections of the magic lantern, and the images of the first cinema, as if they were paintings projected from a black camera. The actions of the characters interweaved between the ones projected in two dimensions and the presently ones in three dimensions, interweaved through a magic, frenetic and fun game of comings and goings of the characters in these two dimensions. An allegorical sample of the new possibilities of the immaterial communication and of the break of the spatial barrier.
Characters: They are part of a stall fair, keeping the role of the previous piece but wearing suitable masks and customes for this new aesthetic universe. Harlequin is a magician-‐clown of the stall fair. Pantalone is the fair Master of Ceremonies. Pierrot is his assistant, knives shooter and fakir. Colombina works with his father Pantalone as a contortionist and acrobat. Dottore is the owner of the stall fair and the Turkish character is the strongman of one of the barracks. The musicians are robots next to the mechanical placer piano. Other characters are the tamer, the bullet man, the charlatan, the juggler and the magician.
MOZART’S MASQUERADE Title
1. Without title (allegro) 00:55
Harlequin, from the new space of a fair stall, watches how the others continue dancing, but now projected through the magic lantern and he rubs his hands together with his new plan to impress Colombina.
Harlequin goes to look for Colombina through the black chamber of the magic lantern and seduces her with various magical gadgets and his tricks. Dottore and Pantalone chase themselves for their contract break up.
3. Blacksmith works (moderato)/ For the woman (allegro)
Pierrot comes out of the black chamber, sad at not being able to have Colombina. Harlequin advises him how to seduce her in the worst way possible in order to ridicule him.
4. A small work (allegretto)/ he dances with another dancer (allegretto) /Larghetto (andante)
Harlequin dresses up like Turkisha, seduces Turkish, they dance and Colombina gets angry.
5. Pantomime with the stick (allegro come una cadenza)/ she asks him to kneel down (allegretto).
Colombina hits Turkish with a stick, although he begs her for mercy. 02:15
6. Giga (Ils dansent ensemble).
7. He grabs her by the nose (largo)/ contradansa (allegro agitato).
8. Tambourin. 01:19
Pierrot comforts and cheers Colombina up with a dance. Pantalone and Dottore join them. She thanks Pierrot for his gesture, who doesn’t miss the opportunity to confess his love to her. Colombina gives herself up to Pierrot and they dance cheerfully while she becomes absorbed in a crystal ball that predicts the future. The others chase each other in a frantic game. Harlequin doesn’t see it clear and makes them come in the lantern.
“LES PETITS RIENS” 21’
Instrumentation: From the parts preserved from the original piece and respecting the punctuation of the score, we play to imagine the musical universe of a present future. A violin, a violoncello, a transverse flute and a keyboard MIDI. The MIDI effect creates a continuous electronic base that emulates the original graver melodic line (As it is clearly show in the piece 5) and adds punctual audible effects that evoke the sounds of a big futuristic metropolis (an air tram passing by, the appearance of advertising holograms...).
Synopsi: Harlequin weaves a strategy to deter and unmask Colombina's suitors, and finishes discovering the way to achieve his hand. Scenic concept: The characters move in a projections and holograms amalgam where they relate and communicate virtually, with the feeling of a new conception of the time and a total break with the space. A liquid dimension that creates a scenic game as a combination of different techniques and languages.
Characters: They are dressed with synthetic and one-‐color custome, and a futuristic mask. Harlequin is a bohemian artist. Pantalone an employer. Colombina is a dancer and Pantalone’s daughter. Pierrot is Pantalone’s attendant. Dottore is a big businessman. The Turkish is a young swindler and a famous businessman.
MOZART’S MASQUERADE Title 1. Opening
Harlequin observes the other character immersed in their virtual worlds. He approaches Colombina but discovers that she is only a hologram.
Pierrot gets dressed by choosing his clothes through a mirror as an online wardrop. Harlequin advices him ironically to ridicule him.
3. Gavotte allegro
Pantalone closes deals with the new Dottore about his daughter’s hand, while they are cycling in a virtual gym.
4. Andantino – Allegro
Harlequin discovers how Pierrot explains to Colombina her father’s deals and she gets angry. Harlequin feels sorry.
The young, handsome Turkish persuades Pantalone promising prosperous businesses. Colombina mistakes him for Dottore. And Harlequin discovers that he is a trickster.
Colombina and Turkish make love poetically and acrobatically in a virtually idyllic environment. Dottore discovers it, after Pierrot and Harlequin do so, too.
Colombina thanks her father for the deal. Neither of them is aware of the confusion. Harlequin unmasks Turkish and Dottore is rejected by Colombina.
Pantalone explains his daughter’s happiness to Dottore, who reacts angrily.
9. Without title
Pantalone, Dottore, Pierrot and Harlequin let off steam each in their virtual world.
Harlequin shows in front of everybody the recorded images of Turkish robbing Pantalone.
Turkish denies it, but Harlequin takes a watch from Pantalone out of his pocket that gives him away.
Everybody chase Turkish, except for Harlequin and Colombina, who thanks him and eventually they end up together.
5. Vivo 6. Gavotte graciose 7. Pantomime