We may not be aware of it, but we all carry Schubert melodies inside of us. Or that is what the crossover proposal of the French-American singer Rosemary Standley -of the famous group Moriarty- and the Ensemble Contraste defends, who have not only recorded an album based on a repertoire of lieder by the Viennese composer of the 19th century on which they apply their respective influences -classical, pop, jazz, folk, rhythms from other cultures- but they stage the concert with the help of Vincent Huguet.
The stage director who recently participated with the Life Victoria festival putting together the correspondence between Marcel Proust and Reynaldo Hahn, now returns to provide a subtle acting that will contribute -this May 7, at 7:00 p.m. at CaixaForum- to bring even closer the music, here arranged by pianist Johan Farjot for guitar, double bass and percussion, as well as an alto voice. The former assistant to Patrice Chéreau and Peter Sellars, now flies solo for operas around the world, but with particular brilliance in this type of hybrid proposal that promotes festivals such as the de lied of the Fundació Victoria de los Ãngeles in Barcelona.
How do you come to the conclusion that Schubert fits into so many other styles?
It is Rosemary Stanley, a very special person with whom I had the opportunity to do other projects, who hits that key. Because she started out as a lyrical singer. But of course, her father is American [Wayne Standley, a folk musician from Ohio], and that led her to the popular side. And she is the iconic singer of the Moriartys who were so successful 10 and 15 years ago. And with this new group they have been performing in small provincial towns in France, also abroad… something very magical. And, well, she has also started as an actress in a French film, a story about the first woman who fought for abortion rights. I get the feeling that she never wanted to stay where she was, so if she was considered a folk singer, then she wanted to sing opera… And when she did, she then wanted to try acting.
And he convinced him to stage Schubert’s lieder.
I’m a big fan of Schubert and the first time I heard his proposal I was surprised by the use of melody… You had to do a staging that was just as pure or sober. Because his is a real interpretation. I mean, the color of the atmosphere. In this kind of situation, my work has to be invisible but even deeper. We prepared it during the time of COVID. We had to see in what order the songs were going to be performed. The parameters are not only dramatic but energetic, because this woman is alone on stage with those guys around her and something has to be built. All you have to do is slip on a sketch of a costume: a red scarf, a small jacket, something adolescent, over a dress with an ancient air, a way to go deep inside yourself and give something that comes directly from the soul, directly from the ear, sometimes from the belly. , or directly from where it hurts.
What made you think that a staging was necessary?
You can always do just one concert and in fact the audience won’t see the hand of a conductor either because the actions are really simple. But I think the difference between the pure concerts and the stage concert is that with very little things, you can add something to the music. The program is one hour long, which is not that long, and it begins with a kind of mystery, a kind of dream. With light we create a moon, a presence from German poetry, and she only has to raise her head towards that moon for us to have the impression that she is connected to something outside. She’s a girl singing to the moon, she’s not just standing at the microphone. Just that detail makes a big difference. And in the operatic moments she plays with the light, generating shadows with her hands on her own face. In the end the musicians need someone to do the narration and someone to watch them.
Do you want to go to the romantic atmosphere?
Yes, but in a weird way, like everyone knows I want to go there but we’re not there. It is about what Schubert does to you today. what he does to nature, to time travel. We are also working with the costume designer on the Victoria de los Ãngeles gala at the Liceu, which will take place at the rentrée.
You were Patrice Chéreau’s assistant.
Yes, when I was young. He always said that he loved democracy, except on stage and in the rehearsal room. And it is true that someone must be in charge, because otherwise everyone feels they have a lot to say but no one has the authority.
And he staged his Elektra at the Liceu a few years ago, a few years after he died.
Yes, and it was amazing. It was very special, I have to say it because when we opened at the Aix-en-provence festival, ten years ago, we created a waiting time. Patrice died that same year, but the production had already been booked there by the Scala in Milan, the Metropolitan Opera in New York, Berlin and Barcelona. And this last one, in December 2016, was something very emotional, it was the last revival of something that we felt was very magical, because the Liceu had signed the original cast. And we meet there. It was hard, sad and an opportunity at the same time. It was like crying.
What is the basic idea for this gala dedicated to the centenary of Victoria de los Ãngeles that will be seen in November at the Liceu?
I didn’t get to know Victoria, but her mark is part of our legacy. Of course she knew about the recording and some of the videos and the great roles that she did. But what’s really shocking to me, in a way, is what she makes you feel, because she looks so good. A very special and profound person. Natural and generous. It would be about reflecting it with the help of an actress as if we were meeting her at tea time. I hope to recreate what her life was without you knowing that one of the most impactful things in her life was her life.