Fin de partie is a one-act opera by György Kurtág, set to a French-language libretto adapted by the composer from the play Endgame (French title: Fin de partie) by Samuel Beckett, with the inclusion of a setting of Beckett's English-language poem "Roundelay" at the start of the opera.[1] Kurtág fully titled this work, his first opera,[2]Samuel Beckett: Fin de partie: scènes et monologues, opéra en un acte. Kurtág dedicated the opera to the memory of "mon professeurFerenc Farkas and of mon ami Tamás Blum [hu]": qui, dans ma jeunesse, m'ont appri (sic) l'essentiel sur l'opéra [who, in my youth, taught me the essentials of opera].
The Teatro alla Scala, Milan, commissioned the opera, and staged the premiere on 15 November 2018.[1][2][3] The director of the premiere production was Pierre Audi, with set and costume designs by Christof Hetzer [de], and lighting design by Urs Schönebaum. The premiere production was a joint production between La Scala and Dutch National Opera (DNO), Amsterdam. The DNO staged the opera in March 2019.[4] The production travelled to Paris in April–May 2022.
On the recommendation of György Ligeti,[5] Kurtág had seen a production of Beckett's play in Paris in 1957.[2] This experience greatly affected Kurtág, which he described to the American music critic Jeremy Eichler as "one of the strongest experiences of my life".[5] For his opera, Kurtág condensed the play, retaining around 60% of the French text.[1] He has acknowledged his studies of the operas of Claudio Monteverdi as inspiration for his own opera.[6]
The original commission for the work arrived in 2010 from La Scala. Kurtág initially wished there to be no contract and no commission fee.[6] The Ernst von Siemens Music Foundation [de] provided financial support for the commission. Kurtág spent eight years on the composition of the opera, with assistance from his wife Márta.[6] Kurtág did not attend the world premiere performance because his frail health rendered him unable to travel from Budapest to Milan.[1][2]
The setting is a house by the sea, where four people reside:
Hamm, an elderly gentleman confined to a wheelchair
Clov, servant to Hamm, who cannot sit down
Nagg and Nell, Hamm's very old parents, each trapped in a dustbin, without legs
The tensions between the four characters exasperate each of them:
Hamm cannot abide his parents and their chatter.
Nell can barely tolerate Nagg.
Clov regards the others wearily.
All four wait for an end to the inertia and claustrophobia of their situation.
Prologue: Nell is the first character to appear, and delivers the setting of 'Roundelay' to begin the opera. Her words hazily allude to memories, with the sound of footsteps as the only sound to be heard on the beach.
Clov's Pantomime: Clov and Hamm appear. Clov is troubled and uneasy on his legs. He makes repetitive gestures, the same gestures every day, during his domestic chores, interspersed with short, nervous laughter.
Clov's First Monologue: Clov speaks of the possibility that the current situation may come to some sort of end soon.
Hamm's First Monologue: by contrast, Hamm thinks about his and his parents' sufferings. With feelings of despondency and exhaustion, he claims that he cannot resolve the current circumstances.
Bin: Nagg and Nell, both severely handicapped, are tired out from their long-term bickering, and their mutual incomprehension. During their conversation, they recall the cycling accident in the Ardennes that caused them both to lose their legs. Memories also surface of a boat trip on Lake Como. These memories are their sole happy memories and, at least superficially, give them a little nostalgia for their life spent together. Yet, Hamm, who wants to sleep, finds his parents' chatter irritating, and orders Clov to throw the bins, including Nagg and Nell, into the sea. Nell dies in the meantime, apparently unnoticed by the others.
Novel: Hamm wants to tell Nagg a story. In past days, a father had come to him on Christmas Eve asking for bread for his son. Hamm had decided to take him on.
Nagg's Monologue: Nagg remembers when Hamm was young and needed him.
Hamm's Penultimate Monologue: Hamm ponders his difficult relations with others.
Hamm and Clov's Dialogue: Hamm asks Clov for his tranquilliser. Clov replies that no tranquillisers are left.
"It's over, Clov" and Clov's Vaudeville: Hamm tells Clov that he no longer needs him, but then asks Clov to say something that he may remember before departing. Clov remarks that Hamm had never spoken to him until that moment. Only now, as he is about to leave, does Hamm pay any notice of him.
Clov's Last Monologue: Clov reflects on his condition. He has never understood what words like 'love' and 'friendship' mean. He also feels old, tired, and unable to form new habits. He is bound to his repetitive, never-changing daily routine.
Transition to the Finale: Hamm thanks Clov as Clov is about to leave.
Hamm's Last Monologue: Clov is about to leave, but has not yet moved. Hamm realises that he has been left alone.
Epilogue: Hamm grasps that it is now up to him – and him alone – to continue playing the endgame.
Receptionedit
Both Andrew Clements[1] and Fiona Maddocks[2] of The Guardian awarded Fin de partie a full five stars. Alex Ross wrote in The New Yorker that "it seems the equal of the celebrated text on which it is based. Beckett has been waiting for Kurtág all this time."[5] The opera later ranked fourth in a poll by The Guardian of the greatest 21st century works of classical music.[7]
Referencesedit
^ abcdeAndrew Clements (19 November 2018). "Fin de Partie review – Kurtág's compelling musical testament". The Guardian. Retrieved 2 January 2019.
^ abcdeFiona Maddocks (24 November 2018). "Fin de partie review – Kurtág's thrilling endgame". The Observer. Retrieved 2 January 2019.
^Zachary Woolfe (7 November 2018). "Review: A 92-Year-Old Composer's Endgame Opera Is Patiently Perfect". The New York Times. Retrieved 2 January 2019.
^ abcAlex Ross (24 December 2018). "György Kurtág, with his Opera of Endgame, Proves to Be Beckett's Equal". The New Yorker. Retrieved 2 January 2019.
^ abcPalko Karasz (7 November 2018). "A 92-Year-Old Composer's First Opera Is His Endgame". The New York Times. Retrieved 2 January 2019.
^Clements, Andrew; Maddocks, Fiona; Lewis, John; Molleson, Kate; Service, Tom; Jeal, Erica; Ashley, Tim (2019-09-12). "The best classical music works of the 21st century". The Guardian. ISSN 0261-3077. Retrieved 2019-10-12.
External linksedit
Libretto of Fin de partie
Teatro alla Scala, English-language synopsis of Fin de partie
partie, opera, partie, opera, györgy, kurtág, french, language, libretto, adapted, composer, from, play, endgame, french, title, partie, samuel, beckett, with, inclusion, setting, beckett, english, language, poem, roundelay, start, opera, kurtág, fully, titled. Fin de partie is a one act opera by Gyorgy Kurtag set to a French language libretto adapted by the composer from the play Endgame French title Fin de partie by Samuel Beckett with the inclusion of a setting of Beckett s English language poem Roundelay at the start of the opera 1 Kurtag fully titled this work his first opera 2 Samuel Beckett Fin de partie scenes et monologues opera en un acte Kurtag dedicated the opera to the memory of mon professeur Ferenc Farkas and of mon ami Tamas Blum hu qui dans ma jeunesse m ont appri sic l essentiel sur l opera who in my youth taught me the essentials of opera Fin de partieOpera by Gyorgy KurtagLibrettistGyorgy KurtagBased onEndgameby Samuel BeckettPremiere15 November 2018La Scala Milan Contents 1 History 2 Roles 3 Synopsis 4 Reception 5 References 6 External linksHistory editThe Teatro alla Scala Milan commissioned the opera and staged the premiere on 15 November 2018 1 2 3 The director of the premiere production was Pierre Audi with set and costume designs by Christof Hetzer de and lighting design by Urs Schonebaum The premiere production was a joint production between La Scala and Dutch National Opera DNO Amsterdam The DNO staged the opera in March 2019 4 The production travelled to Paris in April May 2022 On the recommendation of Gyorgy Ligeti 5 Kurtag had seen a production of Beckett s play in Paris in 1957 2 This experience greatly affected Kurtag which he described to the American music critic Jeremy Eichler as one of the strongest experiences of my life 5 For his opera Kurtag condensed the play retaining around 60 of the French text 1 He has acknowledged his studies of the operas of Claudio Monteverdi as inspiration for his own opera 6 The original commission for the work arrived in 2010 from La Scala Kurtag initially wished there to be no contract and no commission fee 6 The Ernst von Siemens Music Foundation de provided financial support for the commission Kurtag spent eight years on the composition of the opera with assistance from his wife Marta 6 Kurtag did not attend the world premiere performance because his frail health rendered him unable to travel from Budapest to Milan 1 2 Roles editRoles voice types premiere cast Role Voice type Premiere cast 15 November 2018Conductor Markus StenzHamm bass baritone Frode OlsenClov Hamm s servant baritone Leigh MelroseNell Hamm s mother contralto Hilary SummersNagg Hamm s father tenor buffo Leonardo CortellazziSynopsis editThe setting is a house by the sea where four people reside Hamm an elderly gentleman confined to a wheelchair Clov servant to Hamm who cannot sit down Nagg and Nell Hamm s very old parents each trapped in a dustbin without legsThe tensions between the four characters exasperate each of them Hamm cannot abide his parents and their chatter Nell can barely tolerate Nagg Clov regards the others wearily All four wait for an end to the inertia and claustrophobia of their situation Prologue Nell is the first character to appear and delivers the setting of Roundelay to begin the opera Her words hazily allude to memories with the sound of footsteps as the only sound to be heard on the beach Clov s Pantomime Clov and Hamm appear Clov is troubled and uneasy on his legs He makes repetitive gestures the same gestures every day during his domestic chores interspersed with short nervous laughter Clov s First Monologue Clov speaks of the possibility that the current situation may come to some sort of end soon Hamm s First Monologue by contrast Hamm thinks about his and his parents sufferings With feelings of despondency and exhaustion he claims that he cannot resolve the current circumstances Bin Nagg and Nell both severely handicapped are tired out from their long term bickering and their mutual incomprehension During their conversation they recall the cycling accident in the Ardennes that caused them both to lose their legs Memories also surface of a boat trip on Lake Como These memories are their sole happy memories and at least superficially give them a little nostalgia for their life spent together Yet Hamm who wants to sleep finds his parents chatter irritating and orders Clov to throw the bins including Nagg and Nell into the sea Nell dies in the meantime apparently unnoticed by the others Novel Hamm wants to tell Nagg a story In past days a father had come to him on Christmas Eve asking for bread for his son Hamm had decided to take him on Nagg s Monologue Nagg remembers when Hamm was young and needed him Hamm s Penultimate Monologue Hamm ponders his difficult relations with others Hamm and Clov s Dialogue Hamm asks Clov for his tranquilliser Clov replies that no tranquillisers are left It s over Clov and Clov s Vaudeville Hamm tells Clov that he no longer needs him but then asks Clov to say something that he may remember before departing Clov remarks that Hamm had never spoken to him until that moment Only now as he is about to leave does Hamm pay any notice of him Clov s Last Monologue Clov reflects on his condition He has never understood what words like love and friendship mean He also feels old tired and unable to form new habits He is bound to his repetitive never changing daily routine Transition to the Finale Hamm thanks Clov as Clov is about to leave Hamm s Last Monologue Clov is about to leave but has not yet moved Hamm realises that he has been left alone Epilogue Hamm grasps that it is now up to him and him alone to continue playing the endgame Reception editBoth Andrew Clements 1 and Fiona Maddocks 2 of The Guardian awarded Fin de partie a full five stars Alex Ross wrote in The New Yorker that it seems the equal of the celebrated text on which it is based Beckett has been waiting for Kurtag all this time 5 The opera later ranked fourth in a poll by The Guardian of the greatest 21st century works of classical music 7 References edit a b c d e Andrew Clements 19 November 2018 Fin de Partie review Kurtag s compelling musical testament The Guardian Retrieved 2 January 2019 a b c d e Fiona Maddocks 24 November 2018 Fin de partie review Kurtag s thrilling endgame The Observer Retrieved 2 January 2019 Zachary Woolfe 7 November 2018 Review A 92 Year Old Composer s Endgame Opera Is Patiently Perfect The New York Times Retrieved 2 January 2019 Fin de partie production details Dutch National Opera a b c Alex Ross 24 December 2018 Gyorgy Kurtag with his Opera of Endgame Proves to Be Beckett s Equal The New Yorker Retrieved 2 January 2019 a b c Palko Karasz 7 November 2018 A 92 Year Old Composer s First Opera Is His Endgame The New York Times Retrieved 2 January 2019 Clements Andrew Maddocks Fiona Lewis John Molleson Kate Service Tom Jeal Erica Ashley Tim 2019 09 12 The best classical music works of the 21st century The Guardian ISSN 0261 3077 Retrieved 2019 10 12 External links editTeatro alla Scala page on Fin de partie Libretto of Fin de partie Teatro alla Scala English language synopsis of Fin de partie Portals nbsp Classical music nbsp Opera nbsp Music Retrieved from https en wikipedia org w index php title Fin de partie opera amp oldid 1170767491, wikipedia, wiki, book, books, library,
