OVERCOME FEAR OF HOPE: REQUIEM
Time passes quickly, without asking permission and on their toes. Think that the Municipal Theatre languished more than a decade after his infamous fire. Now, rejuvenated opens to the public this week with the famous holy Verdi Requiem. I could not have been better selected piece of music to sing the agony of a theater that held so many memories, his passage through hell (many theatrical productions were held there, building on its ruins) to his redemption and return to life. It seems that the intentions of those who rebuilt the theater and concert promoters have agreed to make a one-way matéfora cruxis, taking advantage of the vicissitudes of Theatre and staging of the Requiem.
The first time I had the opportunity to hear the Verdi Requiem was 6 years ago. It was January 30, 2005 and the concert conducted by Zubin Mehta famous was devoted to Southeast Asian populations that had recently suffered a terrible flood. The place was very modern room of the extraordinary Santa Cecilia Auditorium Parco della Musica, all a temple to the arts district near the Flaminio in Rome (Italy). He was accompanied by two Mexican classmates. One of them, a real gentleman (I hope that if ever reads this will appreciate the irresistible irony that I just wrote) was the one who convinced us to go. I must confess that at that time, besides being a faithful listener of Mozart's time on Radio Sol and Harmony (now Philharmonic) do not know much about classical music. This is a situation that I fear has not changed much, although my interest in classical music if he did and if we are in the field of confessions, I acknowledge that I owe the gentleman Jorge Menabrito.
night was rather cold, and comforted for a drink cognac in the lobby, I was virtually shaken by the strains of "ires idae idea." As a result of the concert, I realized I had a lot to learn, and that pleases me, because in my life one of the few pleasures I have is the day of discovery.
Perhaps for this reason that I noticed the attitudes of the spectators in the theater.
First, galleries and sported several empty stalls, and many are agreed that it was because "they kept to the Juan Diego." Worth explaining: Soon will release the first opera in the Theatre, which will be "The Barber of Seville" which has the participation of the famous Peruvian tenor Juan Diego Flores. For marketing strategy, who wants to buy an entry for this opera, should also get a ticket for the Requiem. Many sought the most suitable location for the presentation of Juan Diego Flores at the expense of going to places more modest for the Requiem. That when they resell or eased the entry of Requiem.
Another thing worth mentioning is that after the third call, the people who were in the pan down to galleries or better positions, using the notorious clear. The temptation was great, but I chose not to. For the Peruvians love as a behavior disorder and that I dislike.
The third and most pleasant, was a response to certain passages of the concert. Above all, the Dies Irae, which should have won more music lovers among participants as suggested having seen so many of the public on the edge of the seat or standing in the galleries listening to the work and following the changes of tone, from the ominous, oppressive boot up the hopeful final.
I think our first National Theatre and deserved a comeback is possible, judging from the heated and enthusiastic comments from the public, which has been achieved. It is my opinion that if among the listeners are young people who just met the theater at its best and is won by the music, then the Return of the Municipal Theatre is worthy of praise with every possible case. Forgive the sentimentality, but for me the most eloquent of the day was to see that many people with the playbill asked with great interest the musicians and see who faced gringo on the translation of the Latin of the Requiem.
Is that hope is making the dark? Will I write these lines with the hope of the rebirth of decency embodied in policy Ollanta Humala, who has received public support of our Nobel Prize in Literature, Mario Vargas Llosa?
Who knows. I hope I'm wrong, but it is possible that the metaphor of the Municipal Theatre sea el de la propia sociedad peruana, condenada a una larga decadencia y languidez en valores y cultura durante la época fujimontesinista. Hoy, más de una década después existe la gran posibilidad de exorcisar a ese demonio, e ingresar definitivamente a la luz.
Lux aeterna luceat eis, Domine, cum Sanctis tuis in aeternum, quia pius es.
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis cum Sanctis tuis in aeternum,quia pius es.
Mario Vargas Llosa
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