For the greatness and meanness of human passions

by Petar PLAMENOV
 
29 September (Thursday), 19:00
National Music Theatre
Sofia Dance Week 2011

Address:
Sofia, 3 Panaiot Volov Str.
Phone: 02 943 19 79 

THUS SPOKE ZARATHUSTRA 
 
Music: Richard Strauss, based on the work by Friedrich Nietzsche
Choreography: Mila Iskrenova
Costumes: Nina Pashova

Multimedia: Nikola Nalbantov
Featuring: Angelina Gavrilova, Daniela Ivaniva,Ivelina Michaylova, Kristine Enkov, Marina Popova, Stefka Tabakova, Tanya Katsarova, Asen Nakov, Valeri Milenkov, Vassil Dipchikov, Ivan Ivanov, Stefan Vuchov, Chan The Chung

"Thus Spake Zarathustra," by Richard Strauss though based upon a philosophical subjects, is one of the most popular of the Strauss tone poems, perhaps because it has been heard more frequently than the others. It was inspired by a "prose poem" of the same name, written by Friedrich Nietzsche. The details of the philosophical story of Zarathustra, or Zoroaster, as he is more familiarly known, are too involved for use in this connection and perhaps are not needed for enjoyment of the music, which is very impressive and grows upon the listener by successive hearings. Strauss has liberally annotated his score with the headings of chapters in the Nietzche text. Like all tone poems, Thus Spake Zarathustra follows a "program" or story line which, to some extent, dictates its musical form and details. Strauss derived his program from Nietzsche`s allegory which theorizes the rise of mankind from a primitive natural state to one of moral and intellectual superiority.



The work opens with a stately theme in trumpets leading to a powerful climax in full orchestra and organ which is the most impressive feature of the tone poem. Then follow new themes under the headings of "Back World's Men" and "Great Longing," the music descriptive of Zarathustra's "going down" to teach the doctrine of the Overman and the "Longings" of those in the Back World for higher things. Another theme, given out by the violins, sings of their "Delights and Passions," followed by the "Grave Song" -- a tender melody in the oboe which is worked up in conjunction with the "Longings" theme. The despair of science is treated as a fugal episode based upon the opening motive, followed by furious and at times dissonant outburst in the full orchestra. An episode, "The Convalescent," is devoted to an optimistic view of humanity. This is followed by the jubilations of the Overman expressed in the "Dance Song," which is anything but terpsichorean in character. "To the general" it must be "caviar." At last twelve strokes of the bell usher in the "Song of the Night Wanderer" and a short passage -- the very spirit of perplexity and doubt -- being set in two keys, involving a mysterious discord, closes this extraordinary music which illustrates such vague and mystic philosophical gropings.

 

Mila Iskrenova is one of the most prominent Bulgarian choreographers who has in her repertoire numerous ballets. She works in the field of modern dance. According to the critics she is skilful in the use of ballet as a means of self-expression, the originality of her performances derives from her individual vision of modern art and her own artistic philosophy which includes mysticism and special focus on the complexity of human nature. In 2001 she was appointed pedagogue and choreographer of Ballet Arabesque - the most experimental dance company in Bulgaria. In the past years Mila Iskrenova devoted much of her time to the works of Bach. Now turns to the philosophy of Nishtshe and its musical incarnation - symphonic poem "Thus Spake Zarathustra" by Richard Strauss.



Man is a rope stretched between the animal and the Superman – a rope over an abyss…
Mila Iskrenova’s production is an intuitive and artistic reflection of German philosopher Friedrich Nietzsche’s best-known philosophical poem, freeing it from all manipulative and speculative interpretations that have accumulated over time.

ARABESQUE CONTEMPORARY DANCE COMPANY, founded in 1967 is the sole ballet company in Bulgaria with a real prestige for the contemporary staging, based on the unconventional trends in the field of the modern dance. Boriana Sechanova (choreographer) is the Artistic Directorsince 2000. The repertoire of Ballet “Arabesque” contains more than 100 different artistic works. The method of open stage makes “Arabesque” place for the realization of talented Bulgarian and foreign choreographers, composers and scenographers where tradition and vanguard provoke each other. During his nearly forty years of existence, Ballet Arabesque is visiting dozens of countries in five continents around the world.

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