A plea for opera being practised as political expression: a lecture on the creation of HAPPY HAPPY, an operatic song-cycle with party by Mathis Nitschke
There is no alternative. The public debate is under the seal of fatalism. There is no other objective than that of universal restrictions. Happy Happy brings together, in a sort of cabinet of wonders, impressions, quotations and scenes to become the plea for autonomy and co-humanity. The opera, written for a singer and a chorus, explores, in so doing, the connection between individual and crowd. It turns out that the person's singing gets lost in the hot-tempered aspiration of the multitude at the celebration. And life goes on. Happy Happy. (Commissioned by the National Opera Montpellier)
'JETZT' (commissioned by the National Opera Montpellier) tries to tell the history of thought in a poetological way. Human being in relation to nature and his surrounding is in constant change. Man is re-inventing himself again and again by inventing new descriptions of himself and his surrounding. By those descriptions we can observe the changes in the past human history. It's the transformation of language use through human history which is the subject matter of this opera. Seven epochs are chosen. Short scenes about death interconnect those seven epochs.
I also compose with pictures. I make films that originate from the sense of form of a music composer. The result are artist films and videos and pieces that combine film with live musicians. Here are a few examples.
A miniature stage, inclinable to all directions, is fitted with a so-called bass shaker, which causes the stage to vibrate depending on the input signal. Plugged to an instrument, this installation allows the double bass player to move the toys placed on the miniature stage around through his music. Always in accordance with the direction of inclination, the objects end up dropping down onto a drum that lies on the ground, which – amplified with a lot of reverb – causes a resounding mess.