NEW CHAMBER MUSIC
ABHANDENGEKOMMEN
IMMIGRATION AND MOB JUSTICE IN AMERICA
All Photos - Sandra Then
World Premiere Production - Cologne Opera (Oper Köln)
Conducted by Harry Ogg
Directed by Maria Lamont - Stage and Costume Design by Luis Carvalho
Lighting Design by Andreas Grüter
CAST
Iania Costa .................. Emily Hindrichs
Emmanuele Polizzi ...... John Heuzenroeder
David Hennessy .......... Miljenko Turk
Margaret Hennessy ..... Regina Richter
Billy O'Connor ........... Martin Koch
William Parkerson ...... David Howes
Mama Costa ............... Dalia Schechter
Catarina Costa ........... Maria Koroleva
Zia Francesca .............. Adriana Bastidas-Gamboa
Ensemble Men ........... Armando Elizondo
Michail Kapadoukakis
Kevin Moreno
Anthony Sandle
„[...] flott und pointenreich inszeniert, Harry Ogg sorgt am Pult der Gürzenich-Kammerformation für Transparenz und energischen Zugriff, aus dem famosen Ensemble ragen heraus Emily Hindrichs seraphischer Sopran als Iania Costa, John Heuzenroeders wackerer Mani und Miljenko Turks selbstgerecht heldenbaritonal auftrumpfender Polizeichef. Großer Applaus für ein eingängiges Stück Neuer Musik, durchaus repertoiretauglich.“ –
"...fluently and cleverly directed, Harry Ogg ensures transparency and an energetic approach from the Gürzenich Chamber Formation's conductor's stand. Among the fantastic ensemble,
Emily Hindrichs stands out with her seraphic soprano as Iania Costa,
John Heuzenroeder as the stalwart Mani, and Miljenko Turk's self-righteous,
heroically baritone performance as the police chief.
A big applause for a catchy piece of new music, certainly suitable for the repertoire."
Regine Müller, Rheinische Post
„[...] denn die Instrumentalstücke zwischen den Szenen hat Frank Pesci feinsinnig komponiert, was Harry Ogg mit großer Präzision herausarbeitet. [...] funktioniert die ausstattungstechnisch reduzierte Inszenierung, weil das Kölner Ensemble nicht nur gut singt, sondern herausragend spielt.“ –
"[...] because Frank Pesci has sensitively composed the instrumental pieces between the scenes, which Harry Ogg highlights with great precision.
[...] the reduced staging in terms of set design works because the Cologne ensemble not only sings well but also excels in their performance."
Stefan Keim, Deutschlandfunk
„[...] Pescis in der Sakralmusik wie im Jazz und der Kammermusik erfahrene Handschrift spinnt ein Netz aus atmosphärisch dichten, aufgekratzten, aber auch besinnlichen Klangfarben. Starker Bassbariton: David Howes, brillant: Bariton Miljenko Turk, berührend: Tenor John Heuzenroeder, mitreißend: Emily Hindrichs, Sopran, wunderbar böse: Tenor Martin Koch. In ihrer Inszenierung lässt Maria Lamont das Spiel um die Macht zeitlos erscheinen. [...]“
"[...] Pesci's experienced hand, well-versed in sacred music as well as jazz and chamber music, weaves a web of atmospherically dense, spirited, and contemplative tones.
Strong bass-baritone: David Howes, brilliant: baritone Miljenko Turk,
touching: tenor John Heuzenroeder, captivating: Emily Hindrichs, soprano,
wonderfully wicked: tenor Martin Koch.
In her direction, Maria Lamont makes the power play appear timeless. [...]"
Jan Sting, Kölnische Rundschau
Anche la musica di Pesci si struttura nelle otto scene dell’opera come montaggio fra influenze diverse, volutamente incrociate e sovrapposte ma mai davvero fuse in un unico idioma, con le asperità dei contrasti in evidenza: al piccolo gruppo di archi si aggiungono percussioni, banjo, pianoforte e una nutrita band di ottoni jazz. Il fermento delle nuove culture musicali, dalle influenze afroamericane a quelle del canto italiano, si scontra con la musica della tradizione religiosa cattolica, che si apre il campo nel lirismo composto dell’Ave Maria, cantata dalla (mama) del poliziotto Hennessy (Regina Richter e Miljenko Turk) e al Dies ire che deflagra al termine del suo funerale nella scena sesta.
Pesci's music also structures itself in the eight scenes of the opera as a montage
of diverse influences, intentionally intersecting and overlapping but never truly merging
into a single language, with the harshness of contrasts in focus: percussion,
banjo, piano, and a substantial jazz brassband are added to the small string group.
The ferment of new musical cultures, from African American influences to
Italian singing traditions, clashes with the music of the Catholic religious tradition,
which opens up in the composed lyricism of the Ave Maria, sung by Hennessy's (mother)
(Regina Richter and Miljenko Turk) and the Dies Irae that explodes
at the end of his funeral in the sixth scene.
Andrea Penna, Il Manifesto
Die Musik die Pesci für das Werk schreibt strotzt nur so von Jazz und Südstaaten-Lokalkolorit. Es groovt, es swingt, es reißt mit. Das ist sicherlich eine Stärke der Partitur, dass gerade diese sehr kraft- und schwungvollen Passagen gut ins Ohr gehen und einen interessanten Brückenschlag in Richtung Neue Musik machen. Pesci weiß die Singstimmen hervorragend zu führen, driftet nie zu weit in die Atonalität ab und zeigt in orchestralen Zwischenspielen die Möglichkeiten seines Instrumentariums. Das ist alles sehr ordentlich gedacht und auch die generelle Anlage des Librettos funktioniert.
The music composed by Pesci for the piece is brimming with jazz and Southern local color.
It grooves, it swings, it captivates. Surely, a strength of the score lies in these powerful and
vibrant passages that find resonance and create an interesting bridge towards contemporary music.
Pesci adeptly guides the vocal lines, avoiding straying too far into atonality, and showcases the capabilities of his
instrumentation in orchestral interludes. It's all very thoughtfully executed, and the overall structure of the libretto works.
Sebastian Jacobs, Der Openfreund