Karmina Šilec

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Karmina Šilec

Karmina Šilec is a world known conductor, author of music theatre projects and artistic director of Carmina Slovenica and Choregie.

Photo: Darja Štravs Tisu
Photo: Darja Štravs Tisu
Photo: Darja Štravs Tisu

Evergreen

Is There One Who Would Not Weep?

Premiere: 6. 10. 2016 in Slovene National Theatre Opera and Ballet Ljubljana

... grand moment when the transcendent nature of the music rebuffed the crush of the indifferent fate … 

The myth of Orpheus, who addressed gods by dint of music, has been one of the greatest myths for centuries. Musicians on the Titanic, who kept playing until the end and might have helped more than 2000 souls on the sinking steamer, have been recognized as the global myth of our time. Evergreen has been inspired by the great moment when transcendental nature of music did away with the pressure of indifferent destiny. Facing the inevitable death, the musicians played under severe circumstances on a gigantic mechanic structure that was falling apart with piercing sounds, being swallowed by the roaring, uncompromising ocean underneath. Their music thus became a way of taking over control in the middle of chaos and in the middle of the unknown; it maintained hope and embraced what was inevitable – the death. It was an extreme trial, trying to trick death, even if for a few moments only. These musicians cherished music as a sacrament soon to be fulfilled by death. Music was the highlight of the ceremony. 
We tend to look for such moments of ecstasy, want to experience the transcendental, that which deeply stirs us, to cross our limits for a moment. In those moments we feel we have lived fuller than usual, we push things to the very edge and immerse ourselves in all of the humanity. The last minutes these musicians played represent the emblem of what music really is: a spiritual bond with what is larger than we are, and a mutual connectedness between people. 

Photo gallery

Evergreen <em>Photo: Darja Štravs Tisu</em>

Photo: Darja Štravs Tisu

Evergreen <em>Photo: Darja Štravs Tisu</em>

Photo: Darja Štravs Tisu

Evergreen <em>Photo: Darja Štravs Tisu</em>

Photo: Darja Štravs Tisu

Evergreen <em>Photo: Darja Štravs Tisu</em>

Photo: Darja Štravs Tisu

Evergreen <em>Photo: Darja Štravs Tisu</em>

Photo: Darja Štravs Tisu

Evergreen <em>Photo: Darja Štravs Tisu</em>

Photo: Darja Štravs Tisu

Evergreen <em>Photo: Darja Štravs Tisu</em>

Photo: Darja Štravs Tisu

Evergreen <em>Photo: Darja Štravs Tisu</em>

Photo: Darja Štravs Tisu

Evergreen <em>Photo: Darja Štravs Tisu</em>

Photo: Darja Štravs Tisu

Evergreen <em>Photo: Darja Štravs Tisu</em>

Photo: Darja Štravs Tisu

About the project

Premiere: 6. 10. 2016 in Slovene National Theatre Opera and Ballet Ljubljana

Music: Gavin Bryars, Wolfgang Amadeus Mozart, Valentin Silvestrov, Jacob Cooper, Robert Honstein, Edward Elgar, Georges Aperghis, John Cage, Ēriks Ešenvalds, Jacopo Peri
 
Concept and director: Karmina Šilec
Conductor: Marko Hribernik
Scenography: Marko Japelj
Costumography: Belinda Radulović
Light design: Andrej Hajdinjak
Movement adviser: Gregor Luštek
Sound design: Danilo Ženko
Video design: Dorian Šilec Petek
Dramaturgy: Tatjana Ažman
Choir leader: Željka Ulčnik Remic

Performed by: Orchestra, Soloists and Chorus of the Slovene National Theatre Opera and Ballet Ljubljana with guests

Production: Slovenian National Theatre Opera and Ballet Ljubljana

...grand moment when the transcendent nature of the music rebuffed the crush of the indifferent fate… 

The myth of Orpheus, who addressed gods by dint of music, has been one of the greatest myths for centuries. Musicians on the Titanic, who kept playing until the end and might have helped more than 2000 souls on the sinking steamer, have been recognized as the global myth of our time. Evergreen has been inspired by the great moment when transcendental nature of music did away with the pressure of indifferent destiny. Facing the inevitable death, the musicians played under severe circumstances on a gigantic mechanic structure that was falling apart with piercing sounds, being swallowed by the roaring, uncompromising ocean underneath. Their music thus became a way of taking over control in the middle of chaos and in the middle of the unknown; it maintained hope and embraced what was inevitable – the death. It was an extreme trial, trying to trick death, even if for a few moments only. These musicians cherished music as a sacrament soon to be fulfilled by death. Music was the highlight of the ceremony. 
We tend to look for such moments of ecstasy, want to experience the transcendental, that which deeply stirs us, to cross our limits for a moment. In those moments we feel we have lived fuller than usual, we push things to the very edge and immerse ourselves in all of the humanity. The last minutes these musicians played represent the emblem of what music really is: a spiritual bond with what is larger than we are, and a mutual connectedness between people. 

Although the concept of the story about the musicians seems exciting, the performance refers to it only loosely. The happening that revolves around the musicians rather resembles a translucent curtain, behind which the viewers - while perceiving the events on the Titanic -, stay well aware of the fact that what they are watching is "neither the right time, nor the place of action". 

The music of Evergreen is trying to capture the lost moments in time, intimate feelings/sounds of those final seconds, the horror, oblivion, nobleness, courage, fear, faith, the secret power of music … and bestow the sound with the power of immortality. The narration about what happens to music as it slides through underwater density, creating new acoustic qualities, is carried in the sounds. Faith and beauty resound through music as it might have sounded in the unbearable moments of pressure, in this unexpected human drama, in this vast, undulating darkness.   

 

Video

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Press

... the appproach is certainly innovative, but also demanding ... the performance is distinguished by its excellent  scenic execution... astonishing dedication and discipline of the performers on an opera stage... the choir was a surprise, proving that it can do more than we've seen so far …
(Delo)

... this was an enterprising and welcome venture, received enthusiastically in the main by a receptive audience…
… project demanded imagination, skill and courage from all participants, unused to such experimental work and strong performances were given by the tenor Aco Aleksander Biščevič, the baritones Jože vidic and Robert Verčon, the tenor Matej Vovk, the bass Peter Martincic, the soprano Urška Arlič Gololičič and the mezzo-soprano Mirjam Kalin …
… second act and finale were powerful and genuinely touching …
(Opera, 2017)

 

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