by Dick Edelstein

Following the opening night performance of Mozart’s Requiem in Barcelona last month, I left the Gran Teatre del Liceu harboring the thought that this revolutionary setting was a slick riposte to the existential challenge of malevolent Trumpian ideology, a notion that could have motivated theatre director Romeo Castellucci’s approach to staging Mozart’s much beloved and final work in his Liceu debut. Castellucci is already well known to Barcelona theatre audiences, and he is planning to return to the Liceu in the near future with his own opera project.
This staged production of the Requiem premiered at the Aix-en-Provence Festival. Although it is a mass for the dead, the Requiem, like much of Mozart’s music, expresses an irrepressible joie de vivre and is more about celebrating the cycle of life than mourning a death. Here we enter into the labyrinth of ambiguities and controversies that surround this work. Mozart’s views on the Church, society, Masonic beliefs, and enlightenment values molded his attitude towards life and death. This tension of ideas is manifest in the interplay between the text, music, and dramatic symbolism in Castellucci’s highly kinetic, fully-staged setting that includes folk dancing, gestural movement, choreography, set decoration, and multimedia support.
The opening scene evokes a tragic mood as an elderly woman sits in a bare bedroom placidly staring at a small mid-century tv set until the scene changes to depict her death and burial. Throughout the work, the chorus performs movements, gestures and folk dances in scenes that represent community activity and folk rituals. Although the Requiem usually takes an hour to perform, the inclusion of five additional short devotional pieces by Mozart has resulted in a 90-minute running time that works well for musical theatre. Castellucci has previously staged innovative performances of devotional music, always managing to surprise his audience, and he seems to prefer these works to Italian melodrama. In this case, the Requiem provides a sound foundation for a theatrical setting, and the narrative that emerges is only partly rooted in 18th century customs and beliefs since it resonates with our own times as well.
The program notes make the extraordinary claim that Mozart’s immensely popular work “is not just the culmination of a late stage of Mozart’s oeuvre, but the pinnacle of musical history…” That’s a pretty bold claim, but let’s have a look at a snippet of this work that shows some of the qualities of the piece as a whole. Read more »









Nandipha Mntambo. (Unknown title) 2008.

I recently watched the lovely film, 
That’s a highly condensed form of an idea that began with this thought: You have no business making decisions about the deployment of technology if you can’t keep people on the dance floor for three sets on a weekday night. There are a lot of assumptions packed into that statement. The crucial point, however, is the juxtaposition of keeping people dancing (the groove) with making decisions about technology (the machine).

During the year I lived in Thailand, I learned it was common for businesses to pay “protection fees” to the local police. When I subsequently worked in Taiwan, I learned the same basic rules applied. In China, a little money ensured government officials stamped contracts and forms. When I lived in Bali, the police sometimes setup “checkpoints” along key roads where drivers slowed, rolled down their windows and handed cash – usually 20,000 rupiah (roughly $2 USD at that time) to an officer – not a word exchanged.

