Workers prepare a futuristic gas, the only source of energy for the industrial world. They refuse to see a looming problem. Will there be anything left to reconstruct?
libretto conceived, composed & directed by Virlana Tkacz
music & libretto composed by Roman Grygoriv & Illia Razumeiko
choreography by Simon Mayer
set design by Waldemart Klyuzko
live electronic music by Georgiy Potopalskiy
costume design by Tetiana Sherstiuk
light design by Maria Volkova
with: Roman Grygoriv / conductor,
Illia Razumeiko / piano
Anna Kirsh / soprano
Maryana Holovko /soprano
Oleksandra Maillet /mezzo-soprano
Andrey Koshman / baritone
Ruslan Kirsh / baritone
Yevgeniy Rakhmanin / bass
Zhanna Marchinska / cello
Nazar Strilets / double bass
Andrey Nadolsky / percussion
Ayk Egyian / percussion, vibraphone
Ihor Boychuk, trumpet, trombone, flute
Sergiy Shava / tuba
Oleh Nedashkivsky /French horn
December 19, 20 & 22, 2019 La MaMa in New York info & tickets
9/17/2019: VIENNA photos
6/11/2019: Ukrainian premiere presented at the Franko Theater in Kyiv.
11/11/2018: Excerpts presented at the “Kurbas: New Worlds” Kyiv exhibit.
"The Opera GAZ" was composed by Roman Grygoriv and Illia Razumeiko, who head Kyiv’s NOVA OPERA. It was conceived and directed by Virlana Tkacz, artistic director of YARA ARTS GROUP from La MaMa Experimental Theatre in New York.
We witnessed the workers prepare their powerful commodity, a futuristic gas that has become the only source of energy for the entire industrial world. They glimpsed, but refuse to see the looming problem. Their self-centered-praise and jingoism, eventually unleash their own rage against the machine and each other.
Press in Kyiv - performance at Franko National Theatrbe June 2019
I" had 3 reactions to Opera GAZ:
- GAZ was an exorcism to drive out the demon of socialist realism from Ukrainian culture
- it brought together times severed by the Soviet Secret Police
- it was a warning -- people must not to turn into zombies or disembodied angels blowing their trumpets into the void. Machines must not rule people and people must not become machines."
Irina Shtohrin, Radio Svoboda, June 11, 2019
Futurism, expressionism and techno-punk come together in this post-apocalyptic opera. Subtitled an anti-utopia, it refers us to Frankenstein, Hasek, Zamyatin, the film “Metropolis” and other projects to create “a new man,” so popular in the 1920s. Here we have technologists generating new people-workers, a composer-creator of music showing them how to listen to music and recreate it (we see clear traces of Benjamin’s mechanical reproduction) and a conductor, who models and rehearses the new people, teaching them how to create mechanical music (the symphony of factories, of metal pipes and hammers.) The artist-God-creator tempts us with music for the Cherubim with angelic voices, then launches a mechanical cacophony. Of course, the robots learn to imitate all culture/music. In time they actually transform into the ordinary people they resemble. The attempt to create a new world violates the laws of nature, harmony turns into cacophony, GAZ explodes, and entropy rules. The world is knocked off its rhythm, the human dies, and we have the birth of totalitarian (mass, mechanical) people. The conductor can train them how to march in columns, direct them to be all as one, so the totalitarian person is born. They only needs to hear the rhythm, and will mechanically reproduce it. “The Party Leads the Way” by Pavlo Tychyna sets this rhythm.
The end of civilization, people and culture? Three angels of the Apocalypse proclaim the end of the world. The artist-creator – really a “deus ex machina” – appears at the final moment in a gas-mask, insane and confused, declaring that cacophony has changed music. Harmony is destroyed, just like God Is Dead, and humanity is dead. Walking out of the theatre I heard one young man say “it’s totally logical.” I’m not sure what he meant, but I agree.
Tamara Hudorova in Kyiv Daily 6/20/19
GAZ - is an exciting story about humans and technology. Like all art that refuses to compromise, this production presents us with a choice of interpretations. You can see it as the story of human evolution, a drama about the death of music, a conflict between an individual and society, or the revolutionary versus totalitarianism. You can even see it as a metaphor for how Russian gas is transported [through our country] to Europe.
But what I think is most important in GAZ is the palpable and constant foreboding of a great explosion, which drives this performance. Any person living in 2019 finds themselves in its epicenter. Technological, economic, social, and political crisis rage – authoritarian regimes, mechanized life surround us -- all this is in GAZ.
And then there is the finale, the performers destroy the piano – a real rock-event you can’t even see at rock concerts these days. This is honest – it’s from the heart.
Karabas-live – Ihor Panasov https://karabas.live/gaz-premier/
Virlana Tkacz’s production of GAZ conveys the spirit of the avant-garde of the early 20th century, but it is an absolutely new, original work. Tkacz places movement at the forefront of the performance. The spinning singers chanted “Gaz,” the “noise” of their hammers against the metal pipes, the eccentric rhythm of the instruments, the fiery yellow flares (lights by Maria Volkova) and the rhythm of the great throbbing circles of light -- all yelled about one thing: here pulse the living hearts of workers today, the great grandchildren of Kurbas’s workers. The point of no return is crossed – the mechanism is set in motion. The collective led by conductor Roman Grygoriv surrounds a sacred altar – the prepared piano and starts to turn into robots…
The finale explodes. After a scene where the engineer plays the piano with his feet and an emotionally heightened pitch is reached, the workers destroy the root of all their problems – the piano. This was a real happening for Ukrainian theatre, the auditorium up in arms, total chaos on stage.
Three women in white with long horns -- like three angels in a baroque painting – were left on stage alone. The appearance of the Engineer in a robot mask, like Stravinsky’s Petrushka, left many questions. Who is more reliable people or robots? Can we control ourselves? Will others explode? There were many horrible explosions in the 20th century. What else can happen? What else can explode?
Yulia Shkromyda, Meloport, June 27, 2019
"The lights go out and the fire wall goes up. On stage the vocalists are in work clothes. The set looks like a factory. The artists sing as in a strange dream, their movements are halting. That is how opera GAZ inspired by Les Kurbas’s show starts in the production by Virlana Tkacz with Nova Opera. Downstage the composer Ilya Razumeiko is a puppet master directing the workers with the help of a prepared piano.
The voices shift from whispering to ringing out hysterically, enchanting us with their relentless mechanical rhythm. Time and again the actors mercilessly bang their hammers on the metal pipes.
All at once the music changes, the range of sounds grows - the actor's movements quicken, they break out of their confinement and while singing, they destroy the piano, the “tyrant” that lords over them, using their work tools to demolish the devil’s instrument that controls them. Upstage the drums detonate like a series of explosions. Lights pour down on the stage like at a rock concert. The cello and double bass meld into the electronic track created by Georgiy Potopalsky. In a word, it’s like nothing in classical opera in Ukraine today.
The hour and a half show ended with wild applause. How sad that this unique opera will not be shown in Kyiv again soon."
Anastasia Platanova Focus, June 29, 2019
NOVA OPERA presented IVOY last year as part of the Prototype Festival. YARA ARTS GROUP has been a resident company at La MaMa since 1990. We joined forces to create GAZ, which was first presented in a workshop production on Nov 11, 2018, as a special event of the "Kurbas: New Worlds" Exhibition at the Art Arsenal in Kyiv.
NOVA OPERA is an organization of young Ukrainian artists founded in 2014 by director Vlad Troitsky. Its goal is the creation of innovative opera performances and the exploration of new genres and methods of expressions. The company also seeks to represent contemporary Ukrainian music theatre on the world stage. After an initial experiment with improvization, an opera “Corialanus” (2014), the artists went on to work with composers Roman Grygoriv and Illia Razumeiko. In three seasons (2015-2018) they created the following multidisciplinary performances: opera-requiem “IYOV,” opera circus “Babylon,” opera ballet “Ark,” dream opera “UnSimple,” trap opera “Wozzeck,” horror opera “Hamlet,” and the futuristic opera “Aerophonia.” Productions created by NOVA OPERA have been performed in Ukraine, Poland, Macedonia, Austria, Denmark, Holland, France and the USA. The current roster of artists includes six singers (sopranos Maryanna Golovko and Anna Marych, mezzo-soprano Oleksandra Mailliet, baritones Andrey Koshman and Ruslan Kirsh, bass Yevgeniy Rakhmanin), as well as cellist Zhanna Marchynska and percussionist Andrey Nadolskiy. http://novaopera.com.ua/