Misteria Paschalia 2016

EN / THE SEVENTH DAY, EASTER SUNDAY
20:00,  27th MARCH 2016

Congress Center ICE, Krakow.

Accademia Bizantina and Capella Cracoviensis directed by Ottavio Danone present
Belshazzar by George Frideric Handel, HWV 61

The sacred drama  by Handel appears to be a  next and quite successful example of constant efforts being made by European artists,  probably with hope to heal up the wound the Western philosophy did by splitting matter from spirit in its epistemology, to  quote only a notorious Descartes and his followers' thinking.    As we recall, the ancient unity of arts was bound up to the integrated  human subject worshipping God through the sacred chorea, that is a triple unity of dance, music and melic word. Paradoxically enough, although  Christianity elaborated some sophisticated theology regarding Jesus Christ  spiritual and corporeal resurrection in a metaphysical concept of  the human God and the divine man at one stroke, it nevertheless introduced to  modern European culture all dualistic concepts of ancient Greek and Judeo origins. Claudio Monteverdi's, 1567-1643,  and   Alessandro Scarlatti's, 1660-1725,  drammi per musica together with George Frederic Handel's, 1685-1759, sacred drama were trying to restore  very much longed harmony and integrity of man's world through art, seemingly lost for good. Obviously, it can bring back the flavour  of the ancient aesthetic experience, but it falls far short of regaining a  sheer experience of the sacred which escapes being both staged and commoditized.

Nevertheless there were excellent dancers in the Easter Sunda show; in the choir, in the musician ensemble and among singers. However two of them were the very epitome of what choreutic expression can look and sound like, the one that unites seamlessly the dance like body movement with singing. I was absolutely enchanted by performance of Filippo Mineccia, contra tenor,  featuring Cyrus and by Andreas Wolf, bass, impersonating Gobryas, the Persian king's general.

Now a question arises inevitably as for what is this choreutic expression like?

What was seen when Mineccia or Wolf were performing it  was just one flowing stream of the human meaning that was soaring into the sky in an sacrificial act of the profane art, producing an asolute beauty through artist unquestionable gift  and  consummate  stage craft. I would call it a dance of the human genius, the gift of God.

PL / DZIEŃ SZÓSTY:
27 marca 2016

Tekst w opracowaniu

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Wiesna Mond-Kozłowska, 21st March 2016 /
Wiesna Mond-Kozłowska, 21 marca 2016