I had a chance to listen to György Kurtág’s Fin de partie, his debut opera based on Samuel Beckett’s 1957 play Endgame (setting the French text Beckett originally produced). Deutschlandfunk Kultur offered an audio stream over the weekend.
Even without the visuals of Pierre Audi’s staging, the music has tremendous resonance. I can’t wait to have a chance to get the whole experience. You encounter the super-condensed attention to the moment you expect from Kurtág (now 92), but with that intensity extended over more than two intermissionless hours, and at the service of perhaps the greatest 20th-century playwright.
The much-anticipated world premiere, postponed for years, was conducted by Markus Stenz and and staged at La Scala. The cast included Frode Olsen, Leigh Melrose, Hilary Summers, and Leonardo Cortellazzi. In March, the production moves on the Dutch National Opera.
Here’s a sampling of some of the critical reaction:
Zachary Woolfe in The New York Times:
He can revel in mood, color and agile, even raucous, rhythms because there is barely a plot to convey. A sick man in a wheelchair (Hamm), his companion (Clov), his father (Nagg) and his mother (Nell) recall the joys and sorrows of the past and curse the indignities of the present and future. That’s all; that’s everything…. Fin de Partie is a farewell not just to a life and a marriage, but also to a whole culture. Mr. Kurtag is one of the last who remain of the generation of avant-garde composers that came of age during World War II and in its wake…
Fiona Maddocks in The Guardian:
Kurtág’s compositions have always been jewelled miniatures. Fin de partie is like a glistening string of them, perfectly suited to the granular nature of Beckett’s text. Only now has Kurtág agreed to release this work in progress (he has set roughly 60% of the text) … It feels complete… Beckett once told an actor preparing the play that he must “fill my silences with sounds”. Kurtág has done just that. Far from stamping on the face of mankind, this masterly composer has caressed it with all his own life’s worth.
Renato Verga for Bachtrack:
The work consists of 12 episodes (scenes and monologues, as the subtitle reads) preceded by a prologue that uses a poem by Beckett, Roundelay, sung by the mezzo-soprano, and an epilogue. The rehearsal of the 14 musical numbers required an exhausting process that took place in the composer’s home, thus the current interpreters bring the precious suggestions of the author himself with them and that is evident in the performance.
Paul Griffiths — who furnished the libretto for another late-in-life debut opera, Elliott Carter’s What Next? — offers this insightful preview:
Kurtág’s alliance with Beckett, his long-destined companion for clarity of vision and precision of utterance, started only when he was in his sixties, and then as if by accident. Ildikó Monyók, an actress and singer, had lost her power of speech as a result of a car accident, and was relearning to enunciate words by singing them, one at a time. Kurtág was reminded of a late Beckett text, “What is the Word,” which he then set in Hungarian translation, in 1990, for Monyók to perform to prompts from an upright piano, as if enacting on stage one of her therapy sessions…
Filed under: Kurtág, new opera
MEMETERIA by Thomas May 