Upiór w operze

There is so much emotion in music we are incapable of restraining.

***

[W]hile the production of woman comes from defect in the active force or from some material indisposition, or even from some external influence; such as that of a south wind,” wrote St. Thomas Aquinas in his Summa Theologica. If this be true, praise the moist southern winds for the birth of Kaija Saariaho, whose music – whether through weakness of active force, or through indisposition of musicological material – has been consistently eluding all analysis and seducing listeners around the world for almost thirty years.

In 2001, Nick Kimberley, critic and columnist for the influential London Independent, wrote a short preview of a monographic Saariaho concert series with the characteristic title “The Music of Dreams (and Sometimes Nightmares)”. This text is remembered chiefly for one clever formulation about “the most important Finnish export product since Nokia”. Less attention has been paid to the words of the composer herself, though she confessed to Kimberley that she recalls the majority of her dreams: “Sometimes I dream music and I can recall it when I awake. Other times I just remember its mood and color. This doesn’t mean that I write music in an unreal dream-world poetic language. Rather, I treat dreams as a gateway to concealed essences – death and love, for example – basic things of which we have no idea.”

Photo: Maarit Kytoharju.

Kaija Saariaho was born in Helsinki, on 14 October 1952. She displayed creative abilities even as a child, learning how to play several instruments, attending drawing and painting classes. Alongside her musical education, she took up studies at the capital’s Academy of Fine Arts, but soon quit to devote herself entirely to the art of composition. Her first mentor was Paavo Heininen, a Finnish dodecaphonist and post-serialist a generation older than she. In 1977, she co-founded the “Korvat auki!” [“Open Your Ears!”] artistic association with other Sibelius Academy students, including Magnus Lindberg and Esa-Pekka Salonen. Its aim was to popularize contemporary music in Finland. While her friends soon set off into the mainstream of Finnish New Wave music, Saariaho continued exploring and, after leaving the country in 1981, took up further compositional studies, attending courses in Darmstadt and at the Staatliche Hochschule für Musik in Freiburg, where she honed her skills under the watchful eyes of Brian Ferneyhough and Klaus Huber.

Only a year had passed before the composer was on her way to Paris, where she settled permanently, having finally found ideal conditions for work and creative development. At the famous IRCAM, she could devote herself entirely to researching new instrumental techniques, to computer analysis and sound synthesis, engaging in the lively discourse between Modernism and Spectralism. For all her respect for Ferneyhough and Michael Finnissy’s New Complexity, Saariaho never concealed her adoration of the work of Gérard Grisey and Tristan Murail, two icons of spectral music, co-founders of the famous Ensemble l’Itinéraire. The roots of her fascination reach deeper, however: all the way back to the work of Henri Dutilleux – imbued, on the one hand, with the spirit of Neoimpressionism; and on the other, inspired by Bartók, Stravinsky and jazz, and yet astonishingly distinct, pure and precise.

Since the end of the 1990s, Saariaho has more and more frequently been returning to purely acoustic sounds, flirting with melody, and creating atmospheric, quasi-tonal spaces – and yet, in spite of her apparent Linearism, she writes music marked first of all with color, full of the most diverse associations, including those from beyond the realm of sound. Her compositions are increasingly accessible to listeners, and increasingly hermetic to interpreters of music.

Dawn Upshaw as Clémence in the Peter Sellars’ production of L’Amour de loin, Théâtre du Châtelet, Paris, 2001. Photo: Marie-Noelle Robert.

To give a work a credible analysis, one must first establish its point of departure, establish its conclusion, distinguish its various phrases, contrasts and culminations. But it is precisely these that are most difficult to isolate in the works of Saariaho, who avoids clear gestures and sharp contours, focusing on what goes on inside, between sounds, on the level of timbre and sonorities. In daydreaming, she opens the gate to other worlds, trying to reveal new and intangible dimensions that elude hard analytic rules. It is difficult to evaluate and categorize the œuvre of a composer who does not for a moment think of “evolving”: in this œuvre, there are neither “juvenile” nor “mature” compositions. Nymphéa, written in 1987 for string quartet and electronics, sounds just as fresh and compelling as Terra Memoria from 2006 – for the same instruments, just minus the electronics. In the former work, Saariaho seeks new colors, weaves sound masses into structures delicate as silk, creates the musical image of a water lily in the most diverse dimensions – from monochromatic wave forms to colorful planes. In the latter work, she stresses the linearity of the composition, which is dedicated to those who have passed away. Some elements – like the memories that haunt our dreams – remain unchanged. The rest of the sound material undergoes constant modification, colliding, vanishing, only to resurface seconds later, just like the illusory memory of the dead, who, after their demise, start to live new and unpredictable lives in the hearts of their loved ones. There is an extreme variety of techniques, a similar impression of imagery, an unbridled sonic vision and an expansive, one is tempted to say, “feminine” emotionality.

Saariaho sometimes bristles at critics’ and theorists’ constant drawing of attention to the coloristic aspects of her music. She accuses them of superficial analysis, reminding them that color and sound are the most obvious, the most “audible” aspects of a composition – beneath which, however, is hidden a complex tangle of other meanings, such as the tension that builds between sound and background noise. Shifts in intensity of sound, therefore, serve less to modify the coloristic values of a work than to build a peculiar form – one based on significantly subtler and more elusive principles than traditional resolutions of harmonic dissonances into consonances. It is no wonder that Saariaho takes such pleasure in writing for the human voice, as well as for the flute and the ’cello – instruments whose wealth of sound permits the erecting of structures that are mighty and powerful, but at the same time subtle and mysterious, like the network of ionic bonds in a crystal.

Eric Owens (Jaufre Rudel) and Tamara Mumford (Pilgrim). Robert Lepage’s production of L’Amour de loin at the Met Opera, 2016. Photo: Ken Howard.

In Laconisme de l’aile of 1982, a work for reciting flutist, the tension between the transparent sound of the instrument and the raw sound of the human voice evokes the suggestive feeling of a bird in flight. In Près for ’cello and electronics, written ten years later at the IRCAM studios, the “pure” sounds of the ’cello create an increasingly dense mixture with sounds synthesized on a computer, bringing to mind the swoosh of the surf, the tranquil energy of rising and falling tides, the eternal rhythm of drought, rising water levels and floods. The sounds used by Saariaho give her work the traits of peculiar Neoimpressionism: in lieu of the uniform, garish colors of individual instrumental sections, the composer introduces broken shades of musical whites, grays and browns, voices “dirtied” with electronics, sounds muffled by background noises, tones covered with a glaze of silence.

In her latest compositions, Saariaho tries to make us understand that all divisions into vocal, instrumental and electronic planes miss the mark. The medium retires to the background, what become most important is the message, rendered so suggestively that the listener ceases to pay attention to the source of the sound and its physical attributes, and instead begins to explore its taste, color and smell. The composer leads us into unknown worlds, full of mysteries and violent, often ambiguous emotions. The vibrating polyphony of two hearts beating in a different rhythm in Je sens un deuxième cœur from 2003 is a reflection of the joyous expectations of a pregnant woman who recognizes the pulse of a growing fetus growing inside her body. The spastic, stifled “I am, I am, I am” in From the Grammar of Dreams is, in turn, the despairing conclusion of would-be and future suicide Sylvia Plath, author of The Bell Jar, who listens to the rhythm of her own heart and in terror repeats “I am”, though she would so much prefer not “to be”. The same topos of the beating heart, completely different sentiments: fear and hope, tenderness and revulsion.

The world premiere of Only the Sound Remains, directed by Peter Sellars. Philippe Jaroussky (Tennin/Angel), Davone Tines (Fisherman), and Nora Kimball-Mentzos (Dance). De Nationale Opera Amsterdam, 2016. Photo: Ruth Walz.

The eternal motifs of death, love, solitude, intimacy and the passage of time have found their fullest expression in Saariaho’s operatic œuvre, beginning with the famous L’Amour de loin from 2000 – for some, the tale of a troubadour, a princess and a pilgrim; for others, a treatise on happiness, imagination and melancholy. In this vast ocean of orchestral colors and orientalized vocal melismas, one hears the influence of Debussy – the remote echoes of his Pelléas et Mélisande; and yet, the devices the composer uses to build her Neoimpressionism hail from the arsenal of the latest achievements in sound technologies – from the mighty power of the Macintosh computer to the eight-octave MIDI keyboard, and concluding with sophisticated software. In her subsequent theatrical efforts (Adriana Mater from 2005 and Émilie from 2008), Saariaho abandoned electronics in favor of a more restless vocal/instrumental texture. In both operas, she resolved to plumb the depths of female longings, fears and frustrations. Adriana Mater is the story of a raped woman who brings up her child, torn between maternal love and hatred toward her assailant – in the music, the emotions grow little by little, emerging from a web of ’cello glissandi, a choral lament devoid of words, and percussion interventions that swell like an ulcer. The epistolary Émilie is a monodrama of the Marquise du Châtelet, a beautiful and brilliant woman, one of the creators of the principle of conservation of energy and author of the formula for kinetic energy. At the same time, she was a lover of many wealthy, influential and outstanding men of her era. Economy of means and transparency of texture all the more clearly reflect the drama of a lonely woman isolated from the world of men, who completed her translation of Newton’s Philosophiae naturalis principia mathematica a few days before giving birth and then died in labor. The motif of pregnancy and fear of the “alien” in one’s own body continually recurs in the work of Saariaho, who is herself the mother of two children.

This split, so peculiar to men, appears throughout the life and work of this Finnish composer, who once impressed Krzysztof Kwiatkowski as a pessimist who does not lose hope. Saariaho never believed in the success of the “Korvat auki!” association and continues to be surprised by the fruits of its activities. Saariaho never supposed that someone would compare her with Nokia’s product line. Saariaho is incapable of shutting her eyes and ears to the atrocities of this world, and is continually afraid that the music she has created will soon lose its raison d’être. I suspect that she must sometimes feel like the protagonist of her fellow countrywoman Tove Jansson’s Moominland Winter, who suddenly awoke from hibernation and noticed that “the valley was not green, only white. Everything that had once moved was motionless. All living sounds had fallen silent. Everything that was angular had become round.”

If Saariaho should awake one day in such a world, I hope she will act like Moomin, who “walked onward, leaving the first tracks on the bridge, and further, on the mountain slope. These were very small tracks that led straight between the trees, to the south.” In the right direction – to where the moist wind blows.

Translated by: Karol Thornton-Remiszewski

’Down all the roads, gleaming with the puddles of spring waters, leading from all the furthest corners of the world to that promised land, down all the footpaths, meandering across the greening fields and blossoming orchards, across forests filled with the scents of young birchtrees and of spring, through obscure villages and impenetrable marshes – crowds of people flocked, hundreds of carts creaked, thousands of train carriages flew like lightnings, thousands of sighs rose and thousands of flaming gazes fell into the darkness, seeking with craving and fever the contours of that promised land.’

That is one of the last paragraphs of Władysław Reymont’s famous novel, published as installments by the Warsaw daily ’Kurier Codzienny’ and later in book form by Gebethner and Wolff’s Publishing House in 1899. The fortunes of Polish, Jewish, German and Russian factory-owners kept growing, while the several hundred thousand city suffered: ignored by the Tsarist authorities, tragically short of investment funding, socially undeveloped, deprived of modern infrastructure. There was a lack of a sewage system. There was a lack of waterworks. There was no lack of paupers and illiterates. 'For the sake of that polypus, villages were being deserted, forests died, the soil was losing its riches, rivers dried up, people were being born, while it sucked everything in (…) and in return gave useless millions to a handful, and hunger and strife to the masses.’

The German and Jewish elites met their cultural needs elsewhere: either in nearby Warsaw or distant Berlin. In November 1918, when Łódź became part of the reborn Polish state as the second largest city in the country, Poles constituted just a little over a half of its population. Once again, it lacked support from outside: the mission of the metropoly’s development was left solely in the hands of the local authorities. Teachers began to come to 'the city of illiterates’ – as Reymont’s promised land was sometimes called – mainly from the former Austrian Partition. Together with the representatives of free professions, they made up the nucleus of the Łódź intelligentsia. They began their mission at grass-root level: by introducing compulsory school education and organising a modern school network. In 1922, the first public children’s library was founded. In September 1927, the premiere of the film titled Łódź – the City of Labour, directed by Edward Puchalski, a pioneer of Polish cinematography, took place at the 'Luna’ cinema in former Przejazdowa Street. Three years later, in the City Hall in Plac Wolności (Freedom Square), the exposition at the City History and Art Museum was opened, one of the first museums of modern art in Europe, which in 1929 began to collect the works of the so-called grupa a.r., a leftist avantgarde group of artists gathered around Władysław Strzemiński, his wife Katarzyna Kobro and Henryk Stażewski. The Radio Broadcasting Station (Radiowa Stacja Przekaźnikowa) began transmitting its programme in middle waves in February 1930.

Karl Wilhelm Scheibler’s factory complex in Łódź, late 19th century litograph.

Yet artistic studies and experiences had to be sought in other centres. The City Theatre (Teatr Miejski), taken over from the former authorities, the Popular Theatre (Teatr Popularny) founded in 1923 and the Polish Theatre (Teatr Polski), opened thirteen years later but lacking its own premises, all struggled with constant financial stringencies which were also translated into low artistic quality of productions. Despite pompous plans to open a Polytechnic as well as commercial, textile and medical schools of higher education, in pre-war Łódź there was only a private College of Social and Economic Studies, a Teacher Training College and a local department of the Free Polish University, the only school of higher education whose graduates could seek to obtain a Master’s degree, but not in all fields of study.

It was impossible to live without music, though: even in the intestines of an industrial monster, which 'ground and chewed people and things in its mighty jaws’. Moniuszko’s Flis and Verbum Nobile had been put up in Łódź already in the days of the Tsar, at the initiative of the 'Lutnia’ Singing Society. More or less at that time, the Construction of the Polish Theatre Joint-Stock Company was founded, which sold shares for the price of 25 rubles. The theatre failed to be built, but in 1915, the Łódź Symphony Orchestra came into being, organised by Tadeusz Mazurkiewicz. The first concert took place in the wooden Grand Theatre in Konstantynowska Street, and the original cast included Paweł Klecki and Aleksander Tansman. Three years later, in cooperation with the local Chopin Society, the Orchestra musicians organised an Opera Section. Most of the shows they put up were conducted by Teodor Ryder, a graduate of the Darmstadt conservatory, conductor at the Lyon Opera and at the Warsaw Philharmonic. In his days, the citizens of Łódź had the opportunity, among others, to watch and listen to Moniuszko’s Halka and Verdi’s Il trovatore. Critics reacted to those performances with mixed feelings, despite the participation of such Warsaw stars as Ignacy Dygas and Stanisław Gruszczyński. The level of the makeshift ventures, in which a medley of musicians took part to support the Łódź Orchestra, was not exactly breathtaking, yet they were hugely popular with the audiences.

The old Grand Theatre. Postcard from the beginning of 20th century.

Up to a moment. The Grand Theatre, built in 1901 to the design of the Łódź architect Adolf Zeligson, with its wonderful neo-Renaissance façade and 1200 seats in the audience, was completely burnt down on 20^th October 1920. Six years later, Aleksy Rżewski – the first President of the city in the inter-war period – set up the Łódź Opera Society. Another inkling of hope for a regular stage dawned. The aforementioned Teodor Ryder became the artistic director and inaugurated the society’s activity with a show of Halka at the City Theatre (7^th March 1926), performed by local ensembles and soloists from the Vilnius opera, dismantled a year earlier, and conducted by Daniel Kleidt. The initiative soon withered away, though Łódź citizens would still for a long time recall the later performance of Madama Butterfly starring Teiko Kiwa, presumable Japanese, whose name was really Laetitia Klingen and who was the daughter of a Dutch chemist and his half-blood Japanese wife. The singer was immensely popular in the role of Cio-Cio-san, whom she played on the stage over seven hundred times.

Attempts to instal the opera on the stage of the just renovated City Theatre in Cegielniana Street, undertaken by Ryder in the 1930’s, ended in a fiasco. The proudly announced premieres of The Haunted Manor, Tosca and La Traviata never took place. Then the war broke out. The city had to wait until 1954 for its first proper Opera House. The institution, officially founded on the 1^st of July by the act of the local National Council, was first and foremost a fruit of passion and involvement of Władysław Raczkowski, pianist, organist, choir master and conductor, who organised the first rehearsal of the ensemble in his own flat. Sabina Nowicka, former deputy director at the Polish Army Theatre (Teatr Wojska Polskiego) in the reign of Leon Schiller, and then of the newly-founded Stefan Jaracz Theatre (Teatr im. Stefana Jaracza), became the managing director of the Opera. Mieczysław Drobner, musicologist, composer and pedagogue, lecturer at the Higher State School of Music in Łódź, became the Opera’s musical director. The activities were inaugurated on the 18^th of October 1954 with The Haunted Manor conducted by Raczkowski and directed by Jerzy Merunowicz, the latter a member of the original troupe at the New Theatre (Teatr Nowy) – the stage that had taken turns with the Stefan Jaracz Theatre to host the Opera’s productions. There were young singers in the newly created ensemble who with the passage of successive seasons contributed to the excellent renown of the Łódź Opera – such as Zofia Rudnicka, one of the most beautiful and technically perfect sopranos on the post-war Polish stages, and Weronika Kuźmińska, memorable Hanna in The Haunted Manor mentioned above, equally wonderful Tatyana in Eugene Onegin in 1956, and Mařenka in Smetana’s The Bartered Bride staged two years later.

Lidia Skowron (Halka) and Jerzy Jadczak (Janusz). The opening night of Halka at the Łódź Grand Theatre, 1967.

In 1966, the Opera – renamed The Grand Theater in Łódź – began moving to its new premises in Plac Dąbrowskiego (Dąbrowski Square). The construction of the building, designed by Józef and Witold Korski and Roman Szymborski as a dramatic theatre, lasted with intervals for eighteen years. The National Theatre, for that was originally to be its status, was destined to become an opera in 1954, when the Act of National Council, founding the Łódź Opera was passed. The project evolved, but its authors and those who were implementing it from the very beginning intended to organise the vast area of the square in line with the principles of socialist realism, situating in its northern frontage one of the biggest and most representative objects of the new architecture in the country. The form of the building was to be heavy and at the same time harmonious: huge pillars run along two storeys of the edifice, set at equal intervals, bringing to mind associations with symmetry in the ancient meaning of the term, synonymous with the then conceptions of beauty and moderation. The theater’s interior, with its audience originally designed for almost 1300 seats, was a prominent example of a dialogue – and sometimes of an architectural argument – with the traditional model of an opera hall, identified by the distinctive horseshoe-shaped arrangement of galleries and balconies piling up around. The audience in a way 'grew into’ the stage, penetrated inside the proscenium arch; the sumptuous composition of the plafond, made up of characteristic, suspended 'kites’, was to replace the interplay of light from a monstrous crystal chandelier, customarily fixed in the centre of the ceiling. Łódź saw its theatre as a huge one – second in size after the Grand Theatre in Warsaw and one of the biggest in Europe.

The managing director Stanisław Piotrowski, and his artistic counterpart Zygmunt Latoszewski – musicologist and an experienced opera conductor, since 1965 professor at the Warsaw Higher State School of Music – had planned four premieres for the opening, staged day after day. Thus, the first was Halka, on the 19th of January 1967, the twenty second anniversary of the liberation of the city. On the following day, Borodin’s Prince Igor was presented, then The Haunted Manor and, finally, Carmen by Bizet. Soon special trains were set up to run between Warsaw and Łódź, bringing opera lovers unsatiated by the impressions they had carried out from the capital’s Teatr Wielki – the opera house heaved up from the ruins, expanded and put into operation almost a year and a half earlier.

Łódź was awakening once again, just as in Reymont’s novel. The opera promise had finally been fulfilled.

Translated by: Katarzyna Kretkowska