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[Ideally, watch the video on your computer and listen to it with excellent headphones!] "Oposicantos" is an "O_per_A-Lieder", musical theater or multimedia musical action consisting of a great uninterrupted cycle of "Situations" (a term by which I characterize formal segments of various works based on scenic action), that is, in a single Act, for soloist voices, chorus, 2 pianos (one of them being a MIDI piano, originally a Yamaha Disklavier, without pianist), vast percussion (preponderantly metallic; 5 percussionists), orchestra, and electronics (in real time and in differed, fixed time, with octophonic diffusion). As such, the Opera paraphrases the Lied (song) as a genre, in which the fundamental semantic core is the binary opposition between notions, ideas and attitudes proposed by the poetic plot, in multiple stratifications and rebatements. "Oposicantos" is an ode to dialectics. Alpha and omega are seen opposed to each other at the same time that they are conjugated in the same context, permanently: O_per_A (the term by which Mauricio Ayer already sought to define the essential problematic of my first Opera: the NeutrinOpera "Ritos de Perpassagem"). In "Oposicantos", there is no linear libretto. The poems or poetic texts, carefully selected and with linguistic origins in 8 languages – German, Spanish, Chinese, French, English, Italian, Latin and Portuguese –, come from different times and are presented in partial synchronicity, making poetic formulations from very different eras cohabit the same space-time. Sometimes the texts are presented in their entirety, sometimes they are used in a fragmentary way. The conception of the choice of texts occurs, however, by a fundamental strategy: the texts contradict each other in space, time, and ideas, and, almost always, also in language. There is, therefore, the counterposition of visions not only properly antagonistic, but divergent about the same thing, as diverse angles that celebrate the differences in the face of things, and sometimes such correlations rebound not necessarily in a concomitant way, but rather at a distance, in transtextual connections that make "Oposicantos" a complex and multifaceted musical and semantic plot, involving the audience from all angles, from all sides and corners (canto, in Portuguese). Thus, if there is something to be “narrated”, in "Ritos de Perpassagem" it was the case of Pythagoreanism, and here, of Stoicism. The striking presence of Chrysippus, as the (only) character in "Oposicantos", brings the work closer to the operatic genre, even if it is always approached here in a transversal, dialectic and, therefore, negative way, since the Lied emancipates itself from the operatic Aria to make itself present as a form dialectically opposed to the dramaturgy that, as in the Opera, sees in the clear conduction of a “plot” its fundamental support. Strictly speaking, there are no “characters” in "Oposicantos", and much less “narrativity”, and once again my operatic conception escapes even the convention of enunciating, as its title, the name of a main character that would lend a main narrative sense to the Opera. Once again – as in "Ritos de Perpassagem" – the ideas are the characters. Flo Menezes 00:00 Prologue 05:19 Situation 1 [Cosmos] 9:02 INFERNO – Situation 2 [Slits] 11:47 Situation 3 – Lied 1 [Times] 16:21 Situation 4 [Noises] 19:45 Situation 5 [Oppositions] 25:46 PURGATORIO – Situation 6 – Lied 2 [Trees] 31:04 Situation 7 [Gardens] 40:36 Situations 8 [Vibrations] 44:55 Theatrical Situation 48:53 Situation 9 – Lied 3 [Passages] 57:33 PARADISO – Situation 10 [Sounds] 01:02:00 Situation 11 [Listenings] 01:06:01 Situation 12 – Lied 4 [New Sounds] 01:10:51 Situation 13 [Mutations] Download the libretto of "Oposicantos": https://drive.google.com/drive/folder... The score of "Oposicantos" is published by the Universal Edition, Vienna: https://www.universaledition.com/en/W...