Yawar Fiesta
Annette Vande Gorne - 2006/12

Duration: 60'

Electroacoustic opera with a libretto by Werner Lambersy

Bass: Nicolas Ischerwood
Baritone: Paul-Alexandre Dubois
Alto: Fadila Figuidi, Annette Vande Gorne
Soprano: Françoise Vanhecke
Reciting: Werner Lambersy, Charles Kleinberg

Aperture and Act I: Condor (2009-2012)
Women’s chorus of Indians: Lamento (2006)
Women’s chorus of middle class people: Combattimento (2007)
Acte III: Monologue final (2006)

Can space, written and performed live, lead to expression and dramatization... Music? Opera? Even if the project does not involve any singers on stage, the later being human and silent, the majority of the sound material derives from the voice. The studio is the means for recording of the singers and transforming the voices. Yawar Fiesta is not an electroacoustic work (with its research in abstract sound matter production and writing) but the dramatization of a text by, among other things, the placement and spatial figures. The technology-based music here re-link with the singing tradition of opera. The libretto is based on an incantatory ritual from Aeschylus and concerns the dualities that goes on in all of us, opposites of societies and life for instance - a battle symbolised by the combat of a condorandabull, still celebrated during the ‘feast of blood’ in some villages founded by the Spanish in the Peruvian Andes. Other examples are: the tension between poverty and power of money; between desire and brute force. The author concludes: ‘that only art reunite; that here at least words are used for what they are, and the party must go on; that here at least where the words are sung, all come together in games of shadow and light.’

The leader of the Indians is personified by a reassuring low declamatory tone – expressing spiritual wisdom whose strength always wins and is eternal in the face of material contingencies and political and economic issues. (The Dalai Lama is a contemporary example).

The choir of Indians is organized by alternating opposites throughout all the text, the choice of words in the overall shape of the three acts. The lament of the chorus of Indian women stays near sung intonations. The vibrato and vocal color is used to express the universal complaint of mothers, powerless in the face of injustice.

The work was produced at Studio Métamorphoses d’Orphée, Musiques & Recherches, Ohain (Belgique).