In order for opera to emerge from its approximate logic, which is composed of statistics, patrons, public consumers and carbon footprint, it must integrate human relations at its heart. Against the empire of numbers, another opera is possible, as shown in the example of the Limoges opera.
Public Opera seems to fall victim to a sad paradox: since Malraux, it has been placed at the top of the musical hierarchy. With her “Queen of the night”, “the death of Yseult” or Love at a distanceit symbolizes the people of ecstasy, caretakers of the emancipatory values of music that should be appreciated by audiences who are unaware of it.
But this noble ambition was betrayed by the Republic itself: it was hardly interested in job promises and was only amazed at the numbers: how many patrons, how many “customers” disguised themselves as “listeners”, how many “were not public ”from how many schools, social centers or nursing homes, how many women are in charge, how many sets are reused and, increasingly, what is the carbon footprint?
The Republic no longer knows that the emotional sensations of the music are extremely unique as George Steiner wanted to believe True presence: the arts of meaning (NRF1991).
It must be said that opera is not free from the ridicule of this public distortion of meaning: with a certain folly, it claims to be the sole master of the beautiful musical values for all Mankind. He even admitted, like Christopher Columbus, ” sets out to “conquer new audiences” », by playing Sepulveda is convinced that, in these worlds he has discovered, no one has a musical soul! It is not surprising, therefore, that these people, who are always overwhelmed, understand that there is almost no place for their music or their dances and that, for fifty years, they have continued to say, with humility but strong: This winning opera is not for me (except perhaps to celebrate the ancillary love of Gallant Indies and Grub).
Although nothing is lost. Another opera is possible, like Las Casas, to be sensitive to other ways of making music and dance, to other sensitive ways of expressing our humanity, both ” we’re about music, people, people too “. This opera can then become an” Opera of Relationships “, recognizing others for the uniqueness of their songs, their sound instruments, their stories, their symbols. An opera that pays attention to all this sensitive freedoms to tell stories when they care for our common people, without judging them with contempt, without proof of their ” cultural disability “, as we have already read in the statistical comments of the Ministry of Culture. This” Opera-Relation “will then be able to bring inexhaustible resources to the people on their own emancipatory journeys.
We bet that much of these human-to-human relationships will allow opera to resist the empire of numbers. An Opera Relations claiming to be an actor of universal values whose basic human rights are solemnly named: “ freedom of artistic expression “ug” freedom for everyone to participate in cultural life “. In short, an Opera-Relation that, more than” citizen “, can be a mobilizing force in human relations for people, more than attending consumer movies of products that are often- standardize for them.
Don’t tell me that’s unrealistic. Take a closer look at the films on offer at the Limoges opera house: it’s the real relationships that are in question. People were accompanied by Eve Christophe’s surgical expertise and the living experience became, for them, in their diversity, an emancipatory discovery. Fortunately, here we get rid of the cartoon publicly restrained or of the “citizen” called constant good deeds. Voices and images draw a path in Opera-Relation that is made only of dangerous moments of equal dignity, of freedoms that will be taken away and, ultimately, taken away by people.
Differences in “culture” mutate into ” diversity », did ” people together to remember the meaning of what is considered “cultural” when basic human rights are taken seriously.
Opera is a great resource beyond stage pleasures.
Opéra-Relation will find so much inspiration from the “Opérakids” defended at the Limoges opera house: we will find there a relationship in which we are told, with force: “ Without one, there is no other.. Solidarity in the first sense of the word, in which reciprocal commitments are made: everyone takes their rightful place, together and together. Opera is no longer the conquest of unknown territories; he knows his universal responsibility to establish relationships of empathy, respect, mutual respect, let’s say in a word, to “ IDENTIFYING », As much as possible by gaining one’s own freedom of artistic expression. Opéra-Relation is not in vain, it knows that games are the ongoing negotiation of the unknown in sensitive universes; the construction and relationship of humanity with people is a permanent struggle with the opacity of our freedoms. Opera Relations is not a routine, rather winding path to freedom.
Better watch the film on Opérakids; listen to the song of the mothers. Granted, it’s not opera singing, but here it’s filmed with dignity. Far from being despised, it is fully recognized by the conquered freedom of these daughters and sons singing on the opera stage. Mothers are not not public even if they don’t go to the opera movies later than before; they are stakeholders, proud, worthy to be for something in this common people.
And, Opéra-Relation will also not forget this freedom to say that this little girl was taken away when, in front of her friends, she expressed her sadness at not being able to celebrate her twelfth birthday. … in the opera. , because of COVID!
This freedom that accompanies the music, the story, the dance is immeasurable: here, we do not count the number of students, nor the hours. We escaped the ridicule of 100% EAC. Here, young people are not anonymously gathering a mass of accusations that justify the opera’s strength. They build their full share of humanity: we hear it in every word; we can see it in big letters when the curtain falls on the stage and the young people and the accompanying people cry together, which is great ” people together” by reminding us, thus, emotionally, of the true meaning of what “ culture for the corpus of basic human rights… impatiently hoping to see the Opéra-Relation come to it.