As a youth, Bertolt Brecht (1898-1956) longed to become a composer and wrote songs accompanying himself on the guitar. Melody was a powerful mechanism in his poetic conception in order to achieve the style of protest and epic theatre he was after: verses and sounds were fused into the one creative halo. This explains why almost all of his dramatic works include musical performance and why over 600 of his poems are related to music. But it soon became evident that his theatrical ambition would require composers who were up to the task, and the playwright ended up forging a close collaboration (not without tensions) with composers including Weill, Eisler, Hindemith and Dessau. Opposed to the view of classical music as an autonomous and formalist art, Brecht conceived a new social function for the librettist, the composer and the performer. This series of four concerts reveals his musical universe, while the series Musical Literature in Spanish reviews his creation for theatre with a lecture by Miguel Sáez and the dramatised reading of some of his texts, in the voices of Ester Bellver and Pedro Casablanc.
These series will take place in conjunction with the project Crear para vivir (Creating for Living), which forms the backbone of the Teatro Real’s programming this trimester, featuring productions of Hans Krása’s Brundibár, Arnold Schoenberg’s Moses und Aron and Viktor Ullman’s Der Kaiser von Atlantis as a reflection of the dimension of art as evasion and rebellion in times of grief and oppression.
Concerts in this series
- José Antonio López and Rubén Fernández Aguirre
CabaretMary Carewe y Philip Mayers
Kurt Weill: Berlín, París, BroadwayElizabeth Atherton and Roger Vignoles
Hans Eisler: The Hollywood SongbookGünter Haumer and Julius Drake