Love and Other Demons
composer: Peter Eötvös
text writer: Gabriel García Márquez
librettist: Kornél Hamvai
Opera in two parts
Libretto by Kornél Hamvai
after Gabriel García Márquez's novel
”Of Love and Other Demons”
Orchestra instrumentation: 2 (beide auch Picc., 2. auch Altfl.) · 2 · 2 · Bassklar. · Sax. (Sopran, Alt, Bariton) · 2 (2. auch Kfg.) - 4 · 2 · 2 · 1 - S. (I: P. [t.] · Glsp. · Crot. · Marimba · Röhrengl. · 3 Gongs · Kuhgl. · Trgl. · Beck. [m./t.] · Sizzle-Beck. · Schellen [h. u. laut, 3-4 exotische Sorten, farbiger Klang] · Tamt. [t.] · Amboss · Tamb. · gr. Tr. · Holzbl. · afrik. Bohnenrassel; II: P. [t.] · Crot. · Vibr. · Röhrengl. · 4 Gongs · 2 Cencerros · · Trgl. · Beck. [m./t.] · Sizzle-Beck. · Schellen [h. u. laut, 3-4 exotische Sorten, farbiger Klang] · Tamb. · gr. Tr. · Mar. ) (2 Spieler) - Hfe. · Cel. - Str. (12 · 0 · 8 · 6 · 4 [2 mit 5. Saite H])
Bl. (4/2), Schlzg. und Str. sind gleichmäßig in 2 Gruppen (l./r. im Graben) aufgeteilt, Bassklar., Sax., Tb., Hfe. und Cel. sind dazwischen positioniert. Backstage sind 8 Lautsprecher aufgestellt, für deren Steuerung ein Toningenieur erforderlich ist.
Cast of characters: Sierva Maria · Koloratursopran - Don Ygnacio, a Marquis, her father · Tenor - Dominga, a black servant woman · Alt - Abrenuncio, a doctor · Tenor - Don Toribio, bishop · Bass - Father Cayetano Delaura · Bariton - Josefa Miranda, abbess · Mezzosopran - Martina Laborde, an insane woman · Alt - 5 African Slaves in Ygnacio’s house · tiefe, starke Sprechstimmen - Choir (Nuns, Slaves, Dreamvoices)· 4 Soprane, 2 Mezzosoprane, 2 Alt mit "voix blanche"
Publisher: Schott Music
Year of composition: 2006 - 2008
Material on hire
Description:
magical world of 18th-century Colombia, adapted from the novella Del amor y otros demonios by Nobelprizewinner, Gabriel García Márquez.
The libretto was written by the famous Hungarian author Kornél Hamvai.
One Sunday in the slave market in the port of Cartagena de Indias, a young girl is bitten by a dog. The girl is Sierva Maria of All The Angels, the daughter of the Marquis, and the dog is rabid. Although Sierva herself seems unhurt, this is a town where reason and superstition are at war, and soon the talk is not of rabies, but of possession. Sierva finds
herself imprisoned in the Convent of St Clare, where Cayetano Delaura, the bishop’s exorcist, comes to drive out her demons. But soon it is Delaura himself who is possessed, consumed by Love, ‘the most terrible
demon of all’. As the lovers’ obsession grows, so too does the desire of the authorities to purge this sickness from their midst.
A special feature of Love and Other Demons is the consistent use of multilingualism. Peter Eötvös and Kornél Hamvai have given the different levels of narration and action in the story their own characteristic language: English is the ‘everyday language’ of the noblemen, Latin is the
language of the church rites, Spanish is used by Delaura whenever his conversations with Sierva touch on personal feelings, and Yoruba is the
‘secret’ language of the slaves.
Performances:
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