Sunday, October 9

Cuttings 2 - Robert Wilson

'Great Day in the Morning', a piece directed by Wilson using Jessye Norman, and opera singing, adapting Spirituals such as 'Steal Away'.

"The spirituals suggested by the great soprano contain not only character melodies and the oral tradition of lyrics taken from the Bible; they also have a definate subject matter, determined by the geographical, historical and reilgious background of 19th centry slavery in the Southern States." "Most of the spirituals selected by Jessye Normal focus on secret moods and feelings, on internalized experiences and intimate religosity."
->Bible as story telling, early forms of music - performers relationship to a spiritual - how is this transported to the audience?
->Social context of lyrics, or music - how does this inform the singers voice and performance?

"the marvelous infinite breadth of Jessye Norman's voice." - what vocabulary should be use to describe the dimensions of a voice?
"the spiritual has melted into the more mysterious humming again" - the word 'melted' - what type of language is appropriate/ effective to describe a vocal performance?

"the inner mood that secretly emerges out of a realm in between and beyond what is seen and heard' ->what is that emotional, inexplicable, intangible effect that a song can have?

While Jessye Norman moves ceaselessly on towards the left, singing of dying with the Lord, her own shadow looms on the right, larger, into the open sky of the stage, growing, following her, coming ever closer.
->Song and theatre, audio and visual, working together, where are the boundaries that define music or drama? what do they matter?