Sex, possession & nuns - how could you not love it?
Penderecki isn’t a composer I’ve had the pleasure of exploring too much, outside of the big famous pieces. So I was really excited to dive into his first opera, The Devils of Loudun. This piece went onto to be influential on the 1971 film (with music with Peter Maxwell Davies) The Devils by Ken Russells. Russells spoke about the opera influencing the world of the film.
I really loved this opera. Politics, sex, horny priests, possessed nuns, it’s really got something for the whole family. Jokes aside, it delves into a world that explores 17th century France where politics, women and the power of society appears to be so different to ours, but in reality is such a strong criticism against oppression, dominant governments and the role and power of a women’s body.
This was the aspect that I found most interesting. In our club meeting I mentioned that if this piece was written 50 years earlier than it was (1968) it would come across as reasonably anti-women. But for some reason, it being created around the time of the sexual revolution painted these women in less of a hysterical, crazed women of patriarchal dominated western literature, and gave an eerie beauty to their inner psychology and confused sexuality.
Another interesting aspect to our conversation was the talk around politics, religion and women. It was really fascinating to tease out the idea that the man at the centre of the opera, who is accused of being the devil and possessing the nuns, didn’t do it and was put in that position from politics. And it touched on the nepotism and abuse of power the church had, and can still have on women and the attempts of an individual against the system. When it was premiered, the work had great controversy with the church. But I think its the classic case that it’s not the religion that is in question, it’s the church and the systems put in place that benefited the church for so long. And this was usually at the cost of individual freedom and progressive values.
The music itself is fascinating. The sound world explored in the more intimate moments is basically chamber music, with some amazing writing for Double Bass. The bigger action and crowd scenes have huge orchestral forces, utilising some amazing techniques for the orchestra. The chorus and soloist writing is epic. So many solo singers! And in the version I watched, a TV adaptation of the world premiere production from Hamberg State Opera, some amazing moments to act - the libretto isn’t contrite or awkward, it gave the singers an opportunity for real emotional depth, comedy and convincing melodrama. A work like this teeters on the extreme edges of emotion. It could almost be silly, but it manages to stay inside a unique, tense box that keeps you on your toes. It has comical, dark moments, but is always clear to its vision and tells the story amazingly well, especially with such large forces.
I’m especially happy to have explored this fantastic, wild and deep music as the maestro passed away in March this year.
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