Chamber opera based on the work of Orgia
Pier Paolo Pasolini.
Music: Hector Parra.
Libretto: Calixto Bieito. Ensemble Intercontemporain.
Director: Pierre Bleuse. Scenography: Calixto Bieito. Soloists: Ausrine Stundyte (soprano), Leigh Melrose (baritone), Jone Martínez (soprano).
Place: Teatro Arriaga (Bilbao).
Date: 24 June.

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Without a doubt, bringing to the operational field a play by an iconic author such as Pier Paolo Pasolini can be an excellent idea. It is also known to all that Pasolini is one of the great filmmakers of the twentieth century. No book on last century cinema will stop talking about this genius of Bologna.

But the other thing is to think that the personal problems of this artist, their enormous contradictions and their follies can make us think in some way that this artist has a philosophy that can be extrapolated to our society.

And now another question: it's true that art can take advantage of the rupture, the nasty, the intrigue, to make us think and turn our interior. But it is also true, and we cannot deny that, on occasions, the proposals that seek to highlight all our fears and anxieties remain in the ugly and in the unpleasant touch, without contributing much more.

Furthermore, instead of offering an enriching view of reality, it sends us a message that is not representative of a philosophy that respects rights.

In essence, Orgia de Pasolini, with music by Hector Parra and libretto by Calixto Bieito, brought to my mind all that mixture of thought.

The programme refers to the argument denouncing an intolerant, hypocritical, cruel and despicable society with all those who come out of the established rules. That is the intention. And in 1966, when the play was created, reflecting that denunciation as we could see would have a "pass." But in 2023, making this complaint through a man who, conscious of his homosexuality, kills his wife, his children and the prostitute who entertains him from time to time, is nothing but a machist message of the worst chaining.

On the other hand, the aesthetics of the representation were truly feist and transmitted only lack of aesthetics, both physical and moral. Less well than the Ensemble Intercontemporain, led by Pierre Bleus, performed a good interpretation of the monotonous sheet music of Hector Parra. And it was no wonder that solo singers showed an excellent vocal technique, considering that they had to sing in sometimes impossible positions. Baritone Leigh Melrose showed a round and powerful voice, and Ausrine Stundyt and Jone Martínez offered a comfortable song in all records. Thanks to them he resisted the performance.