The inversion of an opera.

 

The inversion of an opera

Žiga Stanič's antiopera entitled the Bald Soprano was created in 2012 based on the eponyomous antidrama of Eugene Ionesco. It is devised as a vocal-instrumental scene, similar to an opera, but introducing a reversal of the classical roles between the instrumentalists and singers. The protaganists on stage are the wind instruments and the trumpeters, while the singers act in accompanying roles and "substitute" for the orchestra, which acts as the antagonist of classical works of opera. The Antiopera consists of eleven scenes. The roles include:

•    Mr. Smith - trumpet
•    Mrs. Smith - oboe
•    Mr. Martin - trombone
•    Mrs. Martin - horn
•    Maid Mary - flute and piccolo
•    Firefighter - clarinet

Along with their musical performance, the instrumental soloists also perform as actors. During the opera, they move about the stage in a manner similar to that of singers in a classical opera. The mixed choir sits inconspicuously in a semicircle at the edge of the stage, encircling the soloist. The story speaks of two average small-town families, that symbolize impersonality, the continously repeated habits and thought patterns of lost individuals and the empty life patterns of modern society. The problems associated with modern musical aesthetics are also incorporated and thus introduce a parody on all cliché and commercial music. It also addresses the tragedy associated with the invention of music, which on the basis of rational construction, continously searches for paths towards a cultural market, no matter the costs. The music consists of numerous melodies and harmonies that incorporate  cliché elements, minimalistic, mechanical and predictable musical material. Melodical patterns of the soloists are repeated and therefore hint at the replaceable nature of generically composed material, that represents the language and personality of unoriginal (anti)drama protaganists. Comedy and tragedy  decant from a consonant ternary system into atonal dissonant spheres, and back. The accompanying choir only vocalizes the music and does not use any literary proposals. Aleatory it merges with the soloists.

The scene remains the same throughout the performance. There is a small table on stage surrounded by four chairs positioned in a semicircle. In the background is a clock, whose chiming is occasionally imitated by two choir singers. The choir sits at the edge of the stage. The instrumental soloists,  the wind instruments and the trumpeters, are free to move about and perform in a free-style manner, while "breathing" through their instruments. From the accompanying role, the choir also takes the leading role and exchanges its task with the soloists.