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"La voix de Carmen" opera in 3 acts | for 22 instruments, 6 singers and 9 dancers
Premiered 4th December | Hamburg, Germany
MUSIC Georges Bizet & Kyungjin Lim
LIBRETTO Huijoon Ahn after Henri Meilhac and Ludovic Halévy
COMPOSITION Georges Bizet / Kyungjin Lim
ARRANGEMENT Kyungjin Lim
MUSICAL DIRECTOR Woonseok Lee
DIRECTOR Huijoon Ahn
STAGE Jo Speh
COSTUME Anna Maria Trujic & Lola Nagel
CHOREOGRAPHY Junhwan Lee
DRAMATURGY Eszter Johanna Barta & Rongji Liao
CORREPETITION Sangjun Han
CARMEN Kristine Matvejeva
DON JOSÉ Eunchan Lee
MICAELA Hyunseo Lee
ESCAMILLO Harin Lim
FRASQUITA Juyeon Lee
MERCEDES Anna-Senda Pimentel
YOUNG CARMEN Hyunjin Lee
REMENDADO Haewook Jung
DANCE ENSEMBLE Camila Frattari, Karenina Lizama Leirana, Peter Mani, Tatjana Walter, Angel Jahir Negrete Valadez, Annika Henni Kühn, Kyte Levin Brüggmann, Hyunjin Lee,Yida Guo
Special Thanks to
Johannes Blum, Dorothea Ratzel, David Hermann and Gordon Kampe
Geschickt gekürzt, fantastisch vom südkoreanischen Komponisten Kyungjin Lim neu arrangiert und zum Teil durch eigene Kompositionen ergänzt, entsteht ein Musiktheater, das die Figuren in unsere Gegenwart versetzt. (...) Der Bearbeiter Kyungjin Lim hatte neben einfach besetzten Bläsern und Streichern auch ein Klavier besetzt, das eigenwillige Akzente setzte. In einem seiner ergänzten Zwischenspiele, das von verfremdeten Flötenklängen eingeleitet wurde, sorgten beharrlich stockend voranschreitende Bläserakkorde für eine beklemmende Atmosphäre. (...) ein unverzichtbarer dramaturgischer Bestandteil dieser gelungenen „neuen“ Carmen.
by Helmut Peters of Hamburger Abendblatt.
Interpretation (EN)
Amidst things that change so rapidly, there are those that remain exactly where they are. And for simply being remembered, Bizet's Carmen is worthy of being considered a masterpiece. This was my worry from the moment I received the arrangement and commission for this work: 'What should I do?' Arranging a masterpiece can be a perilous undertaking. Yet, if it had to be done, I wanted to do it well. Bizet's Carmen felt like a monumental, antique 'photograph,' beautifully marked by the passage of time, worthy of being remembered for generations. I digitally restored that photograph, enhancing the saturation and coloring to be distinct, and at times exaggerating them excessively, in order to incorporate my own vision, intention, and musical narrative. It is said that the slowest form of reading is copying by hand. Through that slow reading, I learned many things from Bizet; it was a time that felt like a timeless lesson.
너무도 빠르게 변해가는 것들 사이에서 그 자리에 그대로 머무르는 것. 그리고 기억되는 것만으로도 비제의 카르멘은 역작으로 기억될만하다. 이 작품 편곡 및 위촉을 받았을때부터 고민했다. ‘어떻게 해야할까.’ 걸작을 편곡하는 것은 위험한 일일지 모른다. 그러나 해야만 한다면 잘 해내고 싶었다. 비제의 카르멘은 대대로 기억될만한 기념비적인 오래되고 세월의 흔적이 멋지게 묻어난 ‘사진’과 같았다. 나는 그 사진을 디지털로 복각하여 나만의 시각, 의도, 나의 음악적 서사를 더할 수 있도록 채도와 색채를 뚜렷하게 하고, 때로는 지나치게 과장하는 식으로 작업했다. 가장 느린 독서는 필사라고 한다. 그 느린 독서를 통해 비제에게 많은 것들을 배웠고, 시대를 초월한 레슨과도 같은 시간이었다.
Photograpehr : Patrick Sobottka
