Leo Maslíah also makes opera

The multifacético Uruguayan artist releases "Maldoror" in the Theater Columbus based on the text of Isidor Ducasse

Uruguayan Leo Maslíah continues extending its creative universal personnel: tomorrow, to 11, in the Theater Columbus the world-wide opening of his will be made first opera "Maldoror". The work is based partly of "the Songs of Maldoror", of poet Isidore Ducasse, known like Count de Lautreamont, born in Montevideo in 1846 (he was son of the ambassador French) and passed away to the 24 in the absolute poverty, in Paris.

Maslíah, a man of few words and ironic humor, was adopted by the Buenosaireans from its songs like "rotted Water", the story books and novels plus the musical spectacles in which they coexist his music with his humor with face Buster Keaton.

But, the Uruguayan musician always maintains from a continuous activity as composer of music of symphonic camera and and for that reason "Maldoror" is not in truth an isolated event in his life.

Its already famous and irremediable timidity caused that the dialogue with the NACIONse develops by means of the electronic mail: to Maslíah it likes to express themselves through music the song or the written word, since it did it during some time in the supplement Via Free.

- As the idea arose to transform to "Maldoror" into an opera?

- We say that that not exactly what I did nor what I wanted to make, since the Songs of Maldoror continue being there, intact, whoever to read them or to awake at night shouting by to have dreamed about them. But the idea to make an opera based on that was a species of after-effect of the reading of the book, a neurotic sequel.

- How you transformed into libreto the text of Ducasse?

- I scenically took some from "the more representables" situations, of the three first Songs, and I was threading them of way to try to give continuity the discontinuous thing, as he is the habitual thing in the dreams, or in as one remembers them when it does.

- How you faced the composition of the work as far as your relation with the operístico sort and its conventions?

- Not I am I accustomed of opera, but I believe that conventions of sort went opening in ample fan of possibilities, that they go from conservation almost museística of which sort considers traditional in, until adoption of format operístico by spectacles of rock, or until any largometraje since cinema exists sonorous, which it summons the public (according to Coriún Aharonián, whose opinion on I create very important), more or less in the same way that at another times it did what now opera is called (as if meant something different from "work"), that is to say, to a spectacle where the spectator goes to that they surround it in music, words, the vision of places, way to live awhile during the life on others.

- In the article "the picapiedrización of supersonic" marcás as a sign of this time the capacity of a musician and of the public to know a multiplicity musics like never before in history. The knowledge of this diversity is what, then, it would define to a musician like cult?

- No, because I believe that that situation to be in the middle of many musics of so different origins is not privative of those who make music "cultured", it is common to almost all the people who live in the globulizado world (sic). That diversity is taken like very natural thing everywhere. What little people perceive is that in many cases that is leading to the cancellation of the possibility "of expressing itself" in anyone of those coexisting musical languages, and the sentence to take them not like languages, but like messages.

- For example?

- It is what it is happening in Argentina, for example, with the tango and the folklore. At certain moment there was people who adopted elements of the folkloric tradition and she used them to pronounce itself on its place and its time, in its specific particularitities and not only in which they could have of common with those traditions on which its speech mounted (Yupanqui, for example). Nowadays it continues being people who do that, but is less well-known because nowadays to make "folklore" no longer it is to do what Yupanqui with the folklore did, but that is simply to repeat old prescriptions disguising them with "hidden technological updates", that are as if they were not. People that does not hide its location in the aquí-ahora and that leaves from which others made to create and to lay new ways, or almost does not take place in this world where or it is predefined what is "to make folklore" or "to make tango", in such a way that the tango no longer is a language to express something but an expressed message or and that it is only possible to be repeated. The folklore also. Raul Carnota, Nora Sarmoria and the black Aguirre, between so many others, are alive trying to lay way between the deads whose rigor mortis leaves closed the step more and more.

- Music of symphonic camera and, books novels, songs and now opera, how communicate these multiple battle areas and interest in which you manejás?

- Each one requests to the other that lives and lets live, sometimes can have some lent or plagiarized idea, but everything to him is fixed in house and there are no neurojudiciales demands.

Four extraordinary functions of "Maldoror" to 11 will be made tomorrow, Friday 27, to 20,30, and Sunday 29, to 11 and 17. The localities will be able to be acquired in the ticket office of the theater, Tucumán 1164, from five days before each function. Information: 4378-7344. Paradise $6; it silverplates, $30. "Maldoror" will count on musical direction of Santiago Chotsourian and régie of the own Maslíah. The direction of the choir will be of Fernando Moruja. The stage scene and clothes correspond to Sandra Jurkovich, the illumination to Luis Pereiro and the choreography to Diana Szeinblom. The main interpreters will be the tenor Gustavo Lopez Manzitti, the low Juan Barrile, the mezzosoprano Lucila Ramos Mañé, the baritone Hernán Iturralde and the tenor Pablo Pollitzer.