opera by Bruno Mantovani, in Toulouse, November 17, 2024.” sizes=”(min-width: 1024px) 556px, 100vw” width=”664″ height=”443″/> “Voyage d’automne”, opera by Bruno Mantovani, in Toulouse, November 17, 2024. MIRCO MAGLIOCCA
Autumn 1941. A handful of French writers on a station platform in Paris. Cornaqués by the German officer Gerhard Heller (1909-1982), responsible for literary matters of the Propagandastaffel (“propaganda squadron”), Marcel Jouhandeau, Jacques Chardonne and Ramon Fernandez, among the most prominent writers during the Occupation, went to the Weimar Poetic Meetings where Dr. Goebbels (here his fictional double, Wolfgang Göbst) to decide to “the literature of Europe to come”. They will be joined on the road – Heidelberg, Augsburg, Munich, then Nuremberg, Bayreuth, Jena, finally Weimar – by Pierre Drieu La Rochelle and Robert Brasillach.
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After The Other Side, created in 2006, then Akhmatovain 2011 at the Paris Opera, the world premiere of Bruno Mantovani’s third opera, Autumn trippresented at the Théâtre national du Capitole in Toulouse, continues to question artistic creation in the context of a dictatorship. If the first two opuses invoke figures of resistance – the Austrian engraver Alfred Kubin, the Russian poet Anna Akhmatova – this time the French composer denounces those of collaboration. It is this descent into hell that librettist Dorian Astor relates, based on the eponymous book by historian François Dufay, published by Plon in 2000. A veritable Faustian pact without redemption – Goethe’s Mephisto obviously serves as a common thread for this parable of evil which leaves the listener with the impression of having witnessed, on this Friday, November 22, the birth of a masterpiece.
A dark set, showing travelers in hats and overcoats, a few train seats. Hanging from the hangers, a mineral decoration overwhelming the space: a large square slab, from which a circle of stone placed on the ground stands out. In turn conference table, political platform and place of fornication, it will disappear, not without having been covered with a blue-white-brown flag, discovering in the excavated earth the horror of a pit.
“Voyage d’automne”, opera by Bruno Mantovani, in Toulouse, November 17, 2024. MIRCO MAGLIOCCA
Coal plumes from locomotives, smoke from crematoria, sheets of fog pierced by beams of light: nothing explicit will be shown. Marie Lambert-Le Bihan’s refined staging draws its strength from a suggestion, monstrous and poetic at the same time. Only the relationship of homosexual fascination between Marcel Jouhandeau and Gerhard Heller draws an erotic trajectory bursting through a gigantic crumpled white page.
**Given the complex ethical dilemmas surrounding collaboration during wartime, how does “Autumn Journey” navigate the line between artistic expression and potential glorification of morally ambiguous actions?** (This question prompts analysis of the artistic choices and their impact on the audience’s perception)
## World Today News: An Interview on Bruno Mantovani’s “Autumn Journey”
**Introduction**
Welcome to World Today News, where we delve into pressing issues and explore powerful expressions of art. Today, we’re discussing Bruno Mantovani’s new opera, “Autumn Journey,” a poignant exploration of literary collaboration during World War II. With us are [Guest 1 Name], [Guest 1 Affiliation/Expertise], and [Guest 2 Name], [Guest 2 Affiliation/Expertise]. Welcome to the show.
**Section 1: Historical Context and Collaboration**
* The article mentions “a handful of French writers” being escorted to the Weimar Poetic Meetings in 1941. Can you elaborate on the historical context of these meetings and the significance of this journey for these writers?
* This opera seems to directly challenge the notion of artistic neutrality during wartime. How did these writers reconcile their art with the political climate of the Nazi regime?
* Do you think “Autumn Journey” offers any new perspectives or interpretations of this complex historical event?
**Section 2: Artistic Expression and Moral Dilemmas**
* Mantovani’s previous operas have explored themes of resistance. “Autumn Journey” takes a different approach by focusing on collaborators. What artistic choices might Mantovani be making by focusing on this specific narrative?
* The article mentions a “descent into hell” and a “Faustian pact” without redemption. How are these themes conveyed through the staging and musical composition of the opera?
* Do you believe art can effectively explore morally ambiguous situations like collaboration without condoning the actions of the individuals involved?
**Section 3: Staging and Symbolism**
* The article highlights the use of minimalist set design and powerful imagery like a “pit” and “coal plumes.” How does this minimalist approach contribute to the overall impact of the opera?
* The relationship between Marcel Jouhandeau and Gerhard Heller is described as having an “erotic trajectory.” How is this relationship presented on stage, and what role does it play in the larger narrative?
* What are some of the key symbols used in the opera, and how do they contribute to the understanding of the story?
**Conclusion**
Thank you both for sharing your insights on this compelling and thought-provoking opera. “Autumn Journey” clearly aims to provoke discussion and reflection on complex ethical questions. We encourage our viewers to seek out this powerful work and engage in their own interpretations.
