| Saariaho, Kaija (1952-2023) | Only The Sound Remains (Spanish première) | Libretto by Noh theatre translated by Ezra Pound and Ernest Fenellosa |
| Teatro Real | ||
| Ivor Bolton | Conductor | |
| Peter Sellars | Director | |
| Julie Mehretu | Set Designer | |
| Robby Duiveman | Costume Designer | |
| Nora Kimball-Mentzos | Dancer | |
| James F Ingalls | Lighting Designer | |
| Philippe Jaroussky | Countertenor | Spirit, Angel |
| Davóne Tines | Bass-baritone | Priest, Fisherman |
The Japanese Theatre nôh was born of the buddhist idea that Light is hidden behind the Shadows so as not to blind the common mortal. The composer, Kaija Saariaho – 2017 winner of the Fronteras del Conocimiento de la Fundación BBVA prize– reveals that Hidden Light. Two Works, based on nôh, Always Strong and Feather Mantle, serve as the source of inspiration for Only the Sound Remains, a work in which symbolism substitutes action, in a beautiful exercise of overflowing tension.
In Always Strong, the spirit of a young lute player is presented before a court after having died in violent circumstances. While still alive, his playing was erotic and divine, but now dead, he is unable to achieve the same effect. In Feather Mantle, a fisherman finds a feather cape hanging from the branch of a tree. When he tried to take it to his home, a celestial angel appeared and asked him to return it. Initially, the fisherman refuses to do so, but the lamentation of the angel unable to return to heaven without the cape moved him, and he finally promises to return the cape if the angel will show him one of his dances. The angel accepts and dancing, ascends to heaven. In the wake of the lute player and the angel, only the sound is left.
New production by the Teatro Real, in co-production with De Nationale Opera & Ballet of Amsterdam, the Canadian Opera Company of Toronto, the Opéra National de Paris and the Finnish National Opera of Helsinki
