mitra

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mitraJorge LeónEva ReiterGeorge Van DamClaron McFadden

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Credits

About Mitra

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About the artist

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date & time Tue 11 June 2019, 8.30 pm

venue Muziekgebouw

running time1 hour 15 minutesno interval

languageEnglish and Frenchwith English and Dutch surtitles

introductionby René van Peer7.45 pm

credits

concept, directionJorge León

compositionEva Reiter

composition choirGeorge van Dam

musical supervisionGeorges-Elie Octors

dramaturgyIsabelle Dumont

scenographyThibault Van Craenenbroeck

costumesSilvia Hasenclever

voiceMitra Kadivar, Jacques-Alin Miller

singerClaron McFadden

performerSimone Aughterlony

imageJorge León, Aliocha Van der Avoort and Thomas Schira

childLaurenz Schäfer

light designPeter Quasters

soundAlexandre Fostier

pre-recorded music | performed byIctus EnsembleMichael Schmid (flute)Gerrit Nulens (percussion)George van Dam (violin)Eva Reiter (Paetzold recorder & bass violin)

choirChoral Academy De Munt/La MonnaieHanna Al Bender, Gwendoline Blondeel, Raphaële Green, Logan Lopez Gonzalez, Pierre Derhet, Kamil Ben Hsain Lachiri

choir coachPolina Bogdanova

thanks toAurélie Deloche, Julie Chenot, Fabienne Moris, Jean-Pierre Rehm, Bernard Foccroulle, Paul Aron, Julien Englebert, Amélie Derlon Cordina, Anne-Lise Gobin

productionMuziektheater Transparant, Ictus

coproductionKunstenfestivaldesarts, Les Halles de Schaerbeek, Théâtre de Liège (in the context of IMPACT), De Munt/La Monnaie, Present Perfect vzw, The GMEM Marseille, Actoral Marseille, Les films de Force Majeure

with support fromFederation Wallonie-Bruxelles, International Film Festival Marseille FID, Camargo Foundation, IRCAM, CNC DICRéAM, Thank you & Good Night Production, Interreg V Euregio Meuse Rhin & Wallonia, Tax Shelter of the Belgian Federal Government, ONDA

world premiere 9 May 2018Brussels

websitesMuziektheater TransparantIctus

about mitra

by Jorge León

The starting pointMitra came about as a result of a discovery on the internet: the publication of the email correspondence between the Iranian psy-chiatrist and psychoanalyst Mitra Kadivar and the French, interna-tionally renowned psychoanalyst Jacques-Alain Miller, former chairman of the World Association of Psychoanalysis, son-in-law of the renowned psychoanalyst Jacques Lacan and the responsi-ble publisher of his work. In my view, the emails that travelled back and forth between Paris and Tehran in 2012 raise important social and ethical issues. They deal with the well-being of a woman who ends up entangled in a medical and legal web, from which she is unable to escape. In my interpretation of these exchanges, I endeavour to grasp the essence of the social and political challenges that can be dedu-

ced from the story and to shed light on their ethical and mythical aspects. To that end, I came up with the idea of turning the emails into an opera libretto, which I wrote with dramaturge Isabelle Dumont. Eva Reiter and George van Dam are the composers of the music. In the light of two writing residencies at the Fondation Camargo de Cassis (partner in the project), we were able to visit the Centre Hospitalier Montperrin in Aix-en-Provence. This special psychiatric institution has a clear link with the story of Mitra. Above all, the meetings with the residents at the centre were so intense that it became unthinkable to separate the opera from the creative process. That’s why it was also necessary to have several forms and a combination of approaches, in order to address the current reality of psychological suffering and confinement as faithful-ly as possible. Because how do things stand with psychiatry in the West? The project aims to draw attention to our psychiatric institutions and to enable us to make contact with those who – for various reasons – are temporarily or permanently labelled ‘abnormal’ and are rejected by a society that struggles to offer a suitable response to people’s psychological suffering.  

The storyMitra Kadivar is an Iranian psychiatrist and psychoanalyst who set up a school for psychoanalysis in Tehran after completing her education in France. She also wanted to convert her own home into a shelter for drug addicts. Her neighbours objected to this and complained to the official authorities. They even declared her mad, referring to her strange behaviour and her ceaseless irri-tation with a noisy child who walked around in the flat above hers. According to the neighbours, this child was imaginary and Mitra was psychotic. During her confinement, she is injected with me-dication. The emails she sends to Jacques-Alain Miller reveal the psychoanalyst’s anxieties, after which he attempts to help Mitra from France. When the Iranian psychiatrists deny her access to the internet, she depends on her students to maintain contact with Miller. They keep him informed about Mitra’s situation and tell him how she wants to prove her innocence. A petition to release Mitra is launched in France.      The form – a story consisting of emails – really appealed to me. The 160 messages that were sent over the course of two months are characterised by a certain timeliness and a very tangible action. At the same time, the virtual dimension of the electronic exchanges gives the work an intangible form that lends itself brilliantly to a musical rendition. This dimension goes beyond the

geographical location and distance and holds a unique, non-spa-tial and direct relationship with the space and time, which enables the true story to be turned into a special artistic work: a documen-tary opera film.

I don’t only want to tell the story of Mitra, I also want to expose how artists work. During the workshops in the Centre Montperrin, I wanted to bring the residents (and their carers) into contact with the play about Mitra. I want to capture their reactions as images, trigger emotions when they hear Mitra’s cries of distress, which have been translated into music. The workshop participants are psychologically very vulnerable. Most of them are patients suffe-ring from psychosis and they are medically supported around the clock. The workshops gave them the opportunity to dive into their own emotions.

The stagingTwo screens measuring approximately 8 metres wide and 4.5 metres high form a corner between which the audience will enter the room. The floor is covered with rugs that evoke the aesthetics of Persian rugs. To form a parallel with the exchange between two psychoanalysts, two composers, a woman and a man, take on the tone of the libretto, supported by the email correspondence. Eva Reiter and George van Dam, both members of Ictus and passio-nate composers, caught my eye for this. Eva Reiter wrote the part for the instrumentalists and George van Dam wrote the part for the choir. These two artistic ‘voices’ are designed to enter into a dialogue with each other and intertwine. We chose Claron McFadden to provide an operatic voice for Mitra Kadivar. This world-class singer is not only familiar with the ope-ratic repertoire as well as contemporary music, she is also open to new vocal experiences. Mitra also had to take on a physical shape for the audience. For that reason, Claron will appear on stage and perform an aria lasting a number of minutes. Her short intervention is designed to have the effect of an hallucination on the audience.

Director Jorge León studied film at the Institut National Supérieur des Arts du Spectacle (INSAS) in Brussels, where he soon became interested in the practice of documentary-making. He has cros-sed paths with many performing artists, including Olga De Soto, Meg Stuart, Benoît Lachambre and Simone Aughterlony, leading to numerous joint artistic pro-jects. His most recent productions, the films Before we go (2014), Vous êtes ser-vis (2009) and 10 min. (2009) have been widely screened on the international fes-tival circuit and have garnered numerous awards, including the FIPRESCI Prize, pre-sented by a jury of international film journalists at IFFR in Rotterdam in 2015, and the SACD/SCAM Prize for best docu-mentary. Parallel to the screening of Vous êtes servis at the Kunstenfestivaldesarts in Brussels León presented Deserve, a play created together with Simone Aughterlony. They continued their collaboration with the production UNI*FORM (2015, Theater Spektakel, Zürich) and Mitra,

which premiered in May 2018 during the Kunstenfestivaldesarts. The script of his documentary film Mitra was awarded a prize by FIDLAB Marseille. Mitra was also one of the winners of the 2018 Music Theatre NOW competition.

Born in Vienna, Eva Reiter studied re-corder and viola da gamba, first at the University of Music and Performing Arts in Vienna and later under Paul Leenhouts, Walter van Hauwe and Mieneke van der Velden at the Sweelinck Conservatorium in Amsterdam. In 2006 she earned her Master’s degrees in both instruments with honours. Reiter plays regularly as a soloist and regular member of various early music groups and orchestras including the Nederlandse Bachvereniging, Ensemble Mikado and Le Badinage. In recent years Reiter has focused more on contemporary music both as composer and performer, working with ensembles such as Ictus, Klangforum Wien, Trio Elastic3 and Duo Band. Composers she has worked with

about the artists

in that context include Fausto Romitelli, Paolo Pachini, Burkhard Friedrich, Jorge Sánchez-Chiong and Raphaël Cendo. She has received a number of awards, such as the SKE Publicity Prize in 2006, grants from the City of Vienna (2008) and the Queen Marie José International Composition Prize (2008). Her work has been performed at international festivals including Transit in Leuven, Ars Musica in Brussels, the 2006 ISCM World New Music Festival in Stuttgart, Musikprotokoll Graz and Wien Modern. Her piece Alle Verbindungen gelten nur jetzt was one of the works selected for the International Rostrum of Composers (IRC) in 2009. She regularly performs at early and contempo-rary music festivals such as the Münchener Biennale, Grabenfesttage Wien, Tage Alter Musik Berlin and Tage Alter Musik Regensburg.

Born in Namibia, Belgian violinist, harpsi-chordist and composer George Alexander van Dam studied at the Brussels Royal Conservatoire where he was taught by Georges Octors and Arie van Lysebeth. In 2012 he took up his harpsichord studies again under Robert Kohnen. Van Dam is a passionate performer of contempo-rary music. He has worked with promi-

nent composers including Thomas Adès, Georges Aperghis, George Benjamin, Peter Eötvos, Karel Goeyvaerts, Jonathan Harvey, Maurizio Kagel, György Kurtàg, György Ligeti, Steve Reich and Karlheinz Stockhausen. He works as a soloist and a member of several contemporary groups including Ensemble Modern, MusikFabrik and the Brussels ensemble Ictus, of which he is one of the founding members. Van Dam’s compositions include a con-certo for violin and timbila orchestra, chamber music and various song cycles such as Melanchotopia Songs (written in collaboration with Claron McFadden for Witte de With, Rotterdam 2011). Van Dam also composes music for film, theatre and dance productions and he has worked with visual artists and film makers including Manon de Boer, Angela Bulloch, Trudo Engels and Jorge Léon. He created new music for Collegium Vocale Gent as part of Escorial, a production by Ghelderode/Josse De Pauw (Transparant, May 2013). Van Dam has also performed as a soloist in dance productions such as Rosa, Achterland, Kinok and Partita 2, by Anne Teresa De Keersmaeker. 

Soprano Claron McFadden made her opera debut during the 1985 Holland Festival, in a production of Hasse’s L’Eroe Cinese, was first seen at the Festival d’Aix-en-Provence in 1990 in a controversial staging of Rameau’s Les Indes galantes di-rected by William Christie, and has built up an impressive career since then. She was born in the Unites States, where she studied at the Eastman School of Music in Rochester, New York. McFadden performs a wide repertoire spanning early and contemporary music to jazz and cross-over projects. She has worked with leading conductors such as Kurt Masur, John Eliot Gardiner, Marc Minkowski, Neeme Järvi, Ton Koopman and Frans Brüggen, and large orchestra’s and ensembles including the Netherlands Philharmonic Orchestra, The King’s Consort, the BBC Symphony Orchestra, the Arditti Quartet and the Nash Ensemble. McFadden is much in demand as an opera singer and has performed in productions of the Théâtre du Chatelet, the Glyndebourne Festival, the Salzburger Festspiele, the Bayerische Staatsoper, Dutch National Opera and Muziektheater Transparant. She sang in Claude Vivier’s Rêves d’un Marco Polo di-rected by Pierre Audi and in 2018 she received plaudits for her performance of the title role in the Muziektheater

Transparant production Harriet. During the 2013 Holland Festival she performed in the 3D opera Sunken Garden by Michel van der Aa. McFadden has made various recordings for EMI and other companies and performed in many radio and televisi-on productions. In 2006 she was awarded the Amsterdam Prize for the Arts.

Ictus is a Brussels-based collective for contemporary music, made up of around twenty musicians including conductor Georges-Elie Octors and sound designer Alex Fostier. From its very first beginnings Ictus has presented itself an ‘electric ensemble’, with amplification, live and recorded electronics and electric instru-ments forming part of its everyday prac-tice. Since 1994 Ictus has shared the same premises with P.A.R.T.S. and the Rosas dance company. Headed by choreograp-her Anne Teresa De Keersmaeker, Rosas and Ictus have worked on fourteen dance productions together, ranging from Amor Constante and Drumming to Rain and, more recently, Vortex Temporum (which opened the 2014 Holland Festival). Ictus has also worked with choreographers including Wim Vandekeybus, Maud Le Pladec, Eleanor Bauer and Fumiyo Ikeda. Ictus has released some twenty CDs on the label Cyprès, including two albums devoted to Fausto Romitelli. Their latest release, featuring work by composer Pierluigi Billone, part of the new collecti-on Contra Naturam, was launched under the Sub Rosa label in 2018. Joining forces with its Brussels partners the Kaaitheater and BOZAR, Ictus annually develops a new concert season for a wide audience of the-atre, dance and music lovers. Since 2004 Ictus has also been the resident ensemble at Opéra de Lille. In addition to the the-med concerts and educational activities it organises with the Opera, Ictus also puts on a stage production every year (Georges

Aperhis’s Avis de Tempête in 2004, Michaël Levinas’s La Métamorphose  in 2011 and Wolfgang Mitterer’s Marta in 2016). An important aspect of its activi-ties is exploring new forms: mini or maxi concerts, concerts with commentary, blind dates or concerts where the audience can circulate between various stages (such as the unique, location-specific Liquid Rooms, which were staged across Europe).

Muziektheater Transparant (founded in 1994) is an internationally active producti-on company for opera and musical theatre based in Antwerp. The artistic directors are Guy Coolen and Wouter Van Looy. Based on topical artistic and social issues, Transparant engages in an intensive dialo-gue with artists from a range of disciplines. A special focal point lies in supporting contemporary musicians and composers in developing their work. This has resulted in long-lasting collaborations with ar-tists including Wim Henderickx, Annelies Van Parys, Luigi De Angelis and Claron McFadden. Transparant has also collabo-rated intensively with Jan Van Outryve, Eric Sleichim van Bl!ndman and Liesa Van der Aa. With Translab Transparant brings a new generation of performing artists into contact with inspiring artists as coaches. Muziektheater Transparant stages productions with artistic and social relevance, for a wide audience. The company has performed at the Salzburger Festspiele, the KunstenfestivaldesArts, the Edinburgh International Festival, the Holland Festival and various European Capitals of Culture. Its regular partners include the Concertgebouw Brugge, deSingel (Antwerpen), De Vlaamse Opera (Antwerpen en Gent), OPERA21 (a biennial festival for contemporary musical theat-re), De Munt (Brussel), Muziekcentrum De Bijloke (Gent), Grand Théâtre Luxembourg, Muziekgebouw (Amsterdam), Théatre de la

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textJorge León

text editorKaren Welling

translationAlice Tetley-Paul design thonik

lay-out Mark Drillich, Erna Theys

photography© Bernard Coutantportrait Jorge Léon © Bea Borgersportrait Claron McFadden © Sacha de Boerportrait George Alexander van Dam © Manon de Boer

© Holland Festival, 2019 No part of this publication may be reproduced and/or published by any means whatsoever without the prior written permission of the Holland Festival.