Lineage, performed last night at the Heliconian Club, is the latest show from Adanya Dunn, Brad Cherwin and Alice Hwang who brought us Evolving Symmetry in September. Lineage featured German music from Schubert to Rihm so much more in my sweet spot than the French theme of the earlier show. It was intriguingly constructed with three sets each of a pieces from Mendelssohn’s Lieder Ohne Worte and a Rihm song setting. In between we got first Berg and then Webern, Schoenberg and Schubert. It sounds bizarrely eclectic but the contrast between quite experimental pieces and more obviously accessible fare was very satisfying. Also the sense that there is both a thematic unity and a tendency to experiment in a lot of German music regardless of period.
Wolfgang Rihm’s Dionysos is described by him as “eine Opernphantasie”. It certainly isn’t an opera in the conventional sense lacking, as it does, anything resembling a plot. It’s a staged setting of poems by Nietzsche written just before his final descent into madness (if one considers that’s not where he was from the start!). Rihm conceives this as four scenes each dealing with a different “element” in Nietzscean terms. The four are Water, a scene set on a lake; Air, a mountain scene; Intimate Space, a scene in a brothel; and Public Space, set in a town square. So, episodic and linked only by a certain kind of mood and the characters. The weight of the piece is carried by “N”, a baritone role. he interacts variously with a amle guest who doubles as Apollo and a high soprano who doubles as Ariadne. In addition there is a trio of ladies; high soprano, mezzo, contralto, who play various roles from pseudo Rhinemaidens to tarts.