Dutch

UWE LEIPE MASTDRAMNIS

thursday 19 mei 8.15 pm Muziekgebouw aan ‘t IJ, worldpremière
saturday 21 mei 8.30 pm Grand Theatre, Groningen
– – – – – – – – – – – – – next season – – – – – – – – – – – – – – –
thursday 25 mei 8 pm  Tivoli Vredenburg, Utrecht

sunday 11 juni 2.30 pm Wilminktherater, Enschede
November Music, Korzo Den Haag en Operadagen Rotterdam 2017 t.b.a.

 

At dusk an old shabby woman scraps around a massive pile of junk, in which she has gathered all her possessions and memories. She lights a candle, is confused, and mumbles. She endlessly arranges and rearranges her rubbish. Gradually, from under all her junk a bed becomes visible. It is her deathbed upon which she lays down after some delay. Wearily moaning, groaning and faltering. She starts to sing. At first with some hesitation, but increasingly with more pathos and ardour she brings a glowing and moving farewell to life. Once her aria is completed, she blows out the candle and rises to heaven. From afar we continue to hear her sing softly.

In Uwe Leipe Mastdrammis there is no text, not in the sense of a coherent language. The woman has no command of the language (anymore). The language used is fictitious and merely focused on sound and expression, using the voice in every conceivable form. Uwe Leipe Mastdrammis presents a portrait of a soul in the transition from life to death.

The staging is by Jeroen De Man (De Warme Winkel) with whom NAP has collaborated before in Anais Nin from Louis Andriessen.

Uwe Leipe Mastdramnis, NAP

Press:
Joep Stapel NRC* * * *
The role of De Vries is a tour de force of physical, almost animalic presence.
 She gulps magnetronspaghetti while spewing out gibberish and takes a shower under  a trickle of water out of one of the garbage bags.
 Halfway, a spoken monologue holds the performance. That’s a hazardous choice that is very effective because of De Vries’ convincing, genuine performance.
 It’s in contrast with the sparkling music of Zuidam and creates an unusual theaterical tension. The perfectly timed toymusic at the end of the piece, followed by ritual humming by the musicians, tillts it all: mesmerizing.

Max Arian THEATERKRANT ****
Rob Zuidams libretto fits one page but mezzosoprano Gerrie de Vries turns it into a full-fledged opera. She starts as a old, shabby, ugly woman with a surprisingly beautiful voice and transforms into a glorious diva that this old woman once might have been.

Joyce Roodnat NRCnext
The music evokes what happens, it chases the woman, cherishes her and finally lets her free. On top of that there is the impetuous staging of director Jeroen De Man. He got mezzosoprano Gerrie de Vries  to be both a dying lump as well as a touching young girl.

Roeland Hazendonk  PAROOL***
What she sings breathes befuddlement and a flickering breath of life. The text is meagre and imaginative and despite the associative character cristal clear due to Zuidams extraordinary ability to combine text, music and theater to something that is greater then the sum of the parts.