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Pitié !
The new production by the director Alain Platel and composer Fabrizio Cassol, who together made the outstanding “vsprs” (2006), is based on Bach’s “Matthew Passion”. This masterpiece transforms the story of Christ’s Passion into sublime music. This is music one cannot and must not really ever tinker with. Cassol has not simply ‘adapted’ Bach’s music, but has written a new story. “pitié !” does not slavishly follow Matthew the evangelist’s tale, nor the poetic version by Bach’s own librettist. Cassol focuses on a mother’s pain (a non-existent part in the original Matthew Passion), regarding the inevitable sacrifice of her descendants. Here the part of Christ is adapted for two twin souls with a common destiny. This choice gives the composition meaning and direction.This basis led Cassol to opt for three singers: a soprano for the mother and two voices very similar to each other (alto/mezzo and countertenor) as the children. The orchestra is based on the Aka Moon trio, with the addition of some colourful nomadic personalities such as Magic Malik (flute and vocals), Tcha Limberger (violin), Philippe Thuriot and Krassimir Sterev (accordion), and others.Erbarme dich is one of the best-known arias in “the Matthew Passion”, and this is one of the foundations for the music and content of “pitié !” Does our ability to sympathise extend beyond pity? Compassion is a tainted word and is often associated with condescension. But isn’t it something we intensely yearn for when we find life and death too onerous? But “the Matthew Passion” is primarily about the individual’s ultimate sacrifice: himself. At the present time it seems absurd to ask for what or whom one would be prepared to sacrifice one’s life. But it is nevertheless the one Platel wants to ask the dancers with whom he intends to work on the ‘bastard’ dance form so much his own. Building on the experience gained from “vsprs”, this dance form seeks a physical translation of over-intense emotions and aspires to something that transcends the individual.
Hildegard De Vuyst, February 2008
Source : Ballets C. de la B.
