A Telebossa by Chico Mello and Christina Tappe (2005)
Free after the play Heart's Desire by Caryl Churchill

language: english
Duration: 90 minutes

Premiere on March 10th 2005 at MaerzMusik – Festival for actual music
of the Berliner Festspiele - MUSICA BRASILIERA DESCOMPOSTA ⎥ music theatre
Hebbel am Ufer HAU EINS

Chico Mello, Composition / Artistic director
Christina Tappe, Scenic Director
Steffi Weismann, Set Design / Live-Video
Matthias Kirschke , Sound
Veit Griess, Light
Thomas Bruns/ Sabine Spillecke, Directors of production

Solists:
Alice: Fernanda Farah, Alto
Brian: Christian Kesten, Baritone
Tante Maisie: Katia Guedes, Soprano
Brian, Official: Sascha Borris, Bass
Young Australian Woman/ Susy: Anna Prohaska, Sopran

Kammerensemble Neue Musik Berlin
Antje Thierbach, Oboe
Winfried Rager, Clarinett
Theo Nabicht, Bass-Clarinett
Robin Hayward, Tuba
David Haller, Percussion
Heather O`Donnell, Celesta
Tobias Rempe, Violin
Kirstin Maria Pientka, Viola
Carlos Bica, Contrabass

Rights of Perfomance Caryl Churchill: Jussenhoven & Fischer

A Projekt of the Kammerensemble Neue Musik in Collaboration with MaerzMusik⎥ Berliner Festspiele and Hebbel am Ufer HAU, financed by Hauptstadtkulturfonds, supported by the INM Berlin.

Press commentaries:

Chico Mellos Telebossa „Destino das Oito/ Fate at Eight“ brilliantly plays the melodrama of the soap opera off against the Codices of the avant-garde, especially against the pro-hibition of repetition.
die tageszeitung, 15.3.05

Chico Mello combines rhythms of Bossa-Nova and melodramatic elements of the Brazilian telenovela to an intelligent and accurate scenic kaleidoscope.
Der Tagesspiegel 15.03.05

It was a good luck that the festival MaerzMusic had two promising focal points – the hu-man voice and the Brazilian music. Especially in Brazil the experimental and most in-volved musicians often are getting in touch with popular music. Chico Mello lives in Brazil and in Germany. He created his own style of music theatre. Here he is combining the for the Brazilians very important form of TV soap opera, the „Telenovela“, with Bossa Nova. The result he’s calling TELEBOSSA. His piece, with the title „Destino das Oito/ Fate at Eight“, was first performed in a marvelous light and ironic-imaginative production by Christina Tappe at the Berlin festival MaerzMusik.
The dramatic basis gave the British author Caryl Churchill. On the other side Chico Mello discovered with his own son how important repetitions are for narrating stories.
For this reason Mello was able to reflect in a light and ironic way the stupid and at the same time abysmal rituals of every day rituals, constantly served by TV soap operas.
Musically Mello connected the cool sensuality of Bossa Nova. He permitted the singes and musicians just to use certain notes and rhythms. The result was a sound on the golden mean in-between Alban Berg and Joao Gilberto. Rarely contemporary music theatre as Chico Mellos DESTINO DAS OITO – without falling in cynicism – offers so much ground for laughing and reflection.
Volker Michael, Deutschlandradio Kultur, 15.03.05

Voll war es bei der bittersüß pastellfarbenen Plastik-Inszenierung, die Christina Tappe sich zur Uraufführung der Operette „Destino das Oito/Schicksal um Acht“ des brasilia-nisch-berlinischen Komponisten Chico Mello ausdachte. Mello hat das klaustophobische Theaterstück „Heart`s Desire“ von Caryl Churchill vertont, worin eine Familie auf die ausgebüxte Tochter wartet. Nach und nach enthüllen die Rituale des Familienlebens ihre latente Gewalttätigkeit. Nach dem Vorbild von Soap-Operas erhob Mello den „cliffhanger“ zum Kompositionsprinzip: Alles beginnt in einer minimalistisch konzipierten Musiksprache jederzeit immer wieder von vorn, gewissenhaft colla parte begleiten die Solisten des Kammerensembles Neue Musik, die vortrefflich agierenden Sänger, hüpfende Kängurus und Selbstbespiegelungen sorgen auf live eingespielten Videobilder für Lacher.
Eleonore Büning, Frankfurter Allgemeine, 16.3.05

Die brasilianische Telebossa „Schicksal um Acht“, die dieselbe Telenovela-Folge bis zum Kollaps variiert, ist um so besser, je schlichter Chico Mello den stereotypen Sprechgesang untermalt. Diese Musik will leichtgängig, fast unerheblich sein. Um so soapiger verbindet sie sich mit der Endlosschleife der Handlungsstereotype.
Berliner Morgenpost, 16.3.05/ Die Welt 17.3.05

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