|Yazar|| : ||İlhan Mimaroğlu|
|İsbn|| : ||9758434640|
|Yayın Tarihi|| : ||2003|
|Dil|| : ||İngilizce|
|Sayfa Sayısı|| : ||108|
|Ölçü|| : ||10,5 x 15 cm|
|Yayınevi|| : ||Pan Yayıncılık|
The musical life in Turkey's capital was enlivened in recent weeks by two significant events. One was Ankara's first music festival planned by a native organization and the other the world premiere of a new Turkish opera: Nevit Kodallı's "Van Gogh."
The very subject of the opera stirred heated controversies even before the work was performed. They were about the appropriateness of selecting an outlandish theme when local subjects were at hand. Mr. Kodallı's first attempt in the field of opera scored such a triumph, however, that the polemics were appeased. Even the fanatics are led to think that it is, after all, in a Turkish composer's right to choose a universal theme.
The theme in this case is the life of Vincent Van Gogh. The libretto was shaped after lrving Stone's novel "Lust for Life," by playwright Orhan Asena, stage director Aydın Gün, and Bülent Sokullu, translator of the novel. It proved a serviceable libretto, despite weak spots in literary and dramatic order.
It is composed of five scenes, the first two dealing with the painter's frustrated love affairs with Ursula and Kay. The third is the "Maya Scene" set in the blazing sun of Arles. The brothel scene follows, w here the climax is reached when Van Gogh slashes off his ear. The suicide occurs between the fourth and the fifth scenes (represented by the thundering blast of a gun, heard during the orchestral interlude). Notwithstanding a great number of omissions and some factual inaccuracies, the libretto manages fairly well to portray Van Gogh's existence as an artist, and his tormented life.
Mr. Kodallı's music, a blend of mildly dissonant chromaticism and of ten naive diatonic features, tends to become monotonous in the vocal parts, which are a series of recitatives, except for an arioso here and there. His orchestral writing, though, is hectic, colorful, and imaginative, hinting at the composer's flair for the dramatic. His choral writing has ravishing lushness. All in all, it is the work of a fine craftsman, if not a masterpiece. It runs slightly over two hours always keeping the audience awake, and at moments chilling the spine.