Workshop 'There is no why here' - deSingel 18 - 21 SEPT 13: An insight into the creation of the project

Vrijdag 20 september 2013

Driven by thirst, I eyed a fine icicle outside the window, within hand’s reach. I opened the window and broke off the icicle but at once a large, heavy guard prowling outside brutally snatched it away from me. - Warum? - I asked him in my poor German. - Hier ist kein warum, - (there is no why here), he replied, pushing me inside with a shove.  Primo Levi, Se questo è un uomo

When it comes to inspiration Andrea Molino likes the word necessity. He reveals that he often notices certain themes or ideas in himself that become important, even necessary, though he cannot explain why. It is part of an intuitive process. Through an accumulation of encounters with people, books or articles, some of these necessary topics suddenly come to an explosion. This is the moment that he decides that he needs to work on it, to create something out of it.   

For –there is no why here–, the explosion happened after he became aware that the dichotomy of good and evil seems well established in the collective perception of reality and are very often used in common language and in the description and interpretation of events. Andrea: “Most, if not all, religious leaders use them as a matter of fact; a number of social and political leaders regularly use the expression "absolute evil", for example referring to the Shoah; George W. Bush explicitely described the "war on terror" as "the war of good against evil"; countless other examples are available.  At a closer look, it seems eventually impossible to define an objective or at least collectively agreed definition of those categories. The good and evil of a context might represent a personal or subjective judgment, a societal norm, or either's claim to an absolute value related to the human nature or transcendent religious standard for that context. But the development of a global and intercultural society has highlighted the contradictions and the mutual incompatibility of different existing perceptions, showing how  the traditional tools used to deal with this issue are not anymore appropriate.”

According to Andrea , the workshop is more than living up to his expectations. The experimentation and improvisation is crucial for the project. This vocal approach is a conscious choice.  Even though the composition is almost finished, he wishes to keep it open to insert new elements from this process. What he sees now, will blossom in the piece. In a way, the composition will never be finished. For him, opera is something living, pulsing, not fixed. Andrea: “I write for people, not instrument or voices. Concepts and features are not developed in abstract, but with someone in mind, and relate to a specific logistic situation. I need this physical imagination to shape the piece”.

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