Moses und Aron

the season begins and to start, a track, a discreet but clear sign located on the back of a chair, It indicates the side of the pairs and odd. Suspicions of non-presence room staff are confirmed to see the public busily seeking their localities. Before, at the entrance of Teatro, a large group of workers protesting layoffs it made in early summer.

Already in the room, and to the surprise of the orchestra and performers they were on stage, a worker read a statement of the works council in expressing their fears about the possibility of further redundancies. After his parliament, full of wisdom and education, a rain of papers with their demands were thrown from stage and paradise. Understanding and trust agreement between the board of the theater and the representatives of some workers considered among the best professionals from Europe.

15 years have passed since the reopening of the Teatro Real, back in 1997. The success of the new direction has been to schedule, first in Madrid, and to celebrate this event, one of the crowning works of the twentieth century, Moses und Aron, from Arnold Schoenberg.

Many elements of analysis of a work like this, starting because it is the representation of Jewish religion, in the same way as St. Francis of Assisi is what Catholicism.

René Leibowitz, Schomberg student and connoisseur of this score, and he warned of the domain that the work required, both instrumentation, and treatment of the voices. Equally, the reference to the text, written by Schönberg himself, “Dramatically (dice Leibowitz) the work is faced with one of the most distressing problems that exist: the conflict between word and action, O, if you prefer, the conflict between man philosopher and man of action”.

The papers are thus completely defined. The philosopher man, the owner of the word, represented by Moses, and man of action represented by Aaron.
And this is the time to talk about the voices, or better yet, voice, of Franz Grundheber, a grand Moses, only up to the best Fischer-Dieskau. In his role declaimed, spoken singing this music Moses is the most extensive of the word. And it does not seem to recite Grundheber, It seems to sing, and as he sings… wraps up. His dramatization at times was shocking, giving the character a force and severity overwhelming. Too bad he's not we'll see in June Wozzeck.
Opposed Moses, the character appears action, Aarón. A virtuoso tenor singing. Very good interpretation of Andreas Conrad, with a difficult role in a wide range of sounds it solved brilliantly and excellent projection.
The remaining eleven performers was high, especially Friedemann Röhlig.

But perhaps the score corresponding to the choir which have greater complexity of the whole work. A minimum of two years of trial are those who need a choir to face this opera. The work requires such a level of detail in your analysis and understanding, which requires that minimum time.
The difficulty is, definitely, in implementing intervals six- and eight voices. Not forgetting the counterpoint, so complex as Bach's fugues. Perhaps this is one of the reasons that have been offered this opera in concert version. In addition to economic issues. And maybe because of it, best elements of the score appreciate that, else, They could be stumped.

The address of Sylvain Cambreling It is brilliant. It reflects his perfect knowledge of the work in
details, manifested especially in the sonority of the strings, especially the basses with a score demonized. A perfect direction of a large Orchestra.

This is not an easy work to listen. It requires a very good performance to appreciate fully the score. But there are many elements that have to seduce. Perhaps it is most needed a listener to appreciate much detail, many addresses that music and text are addressed. The Cambreling himself said on the day of his presentation that "the public really interested in opera, as well as musicians and directors, They must face at some point this opera”.
It is a work that requires public some effort and commitment, but if done, the reward is immediate and permanent.

Arnold Schoenberg (1874-1951)
7-9-12, Teatro Real
D. musical: Sylvain Cambreling
D. choir: Joshard Daus
Grundheber, Conrad, Store, Bill, Briand, Bridges,
Wolf, Röhlig, Persicke, Petrocenko.
SWR Symphony Orchestra Baden-Baden-Freiburg