NOTES FROM THE CREATIVE TEAM
KINZA TYRRELL, Music Director La Voix humaine is Francis Poulenc’s third and final opera. All were written in the latter part of his career as he wanted to be at full maturity when he tackled them. Admitting to having had a taste for ‘adorable bad music’ when growing up, he was also greatly influenced by Bach, Mozart, Schubert and Chabrier. Poulenc believed in composing music that was ‘healthy, clear and robust’—his melodies are simple, pleasing, memorable and emotionally expressive. His earlier music was thought to be high spirited and irreverent—his later music, more serious. His contemporaries thought the man to be a true mix of the two, ‘half naughty boy/half monk’. For many years, Poulenc had a reputation as a frivolous, lightweight composer; only recently have people given more attention to his serious works, of which La Voix humaine is one. Looking into his personal life, one can imagine that he must have related to the deep depression of Elle, the sole character in this work. He had his friend, colleague, and performing partner, soprano Denise Duval, in mind as he composed, and worked closely with her and the playwright Jean Cocteau (who designed the scenery and costumes and also directed) on preparing the premiere. This one act tragédie lyrique contains very sudden and extreme musical shifts—reflecting Elle’s fragile state of mind—from anxiety to calm and vice-versa. There are many a cappella (voice alone) moments encouraging the voice to be free, wild and spontaneous. When the accompaniment joins in, Poulenc dictates it to be ‘bathed in the greatest orchestral sensuality’. This opera is saturated with short musical motifs revealing Elle’s tension, feigned casualness, lamenting, false calmness, fear, pleasant memories, and frustration at the intermittent connection with her ex-lover during their 40-minute telephone conversation. Dr. Kinza Tyrrell is Vancouver Opera’s Principal Répétiteur and Music Director for Vancouver Opera In Schools.
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RACHEL PEAKE, Director In this interview Rachel tells us what she loves most about the opera, including the 1950s period, its relevance to living through a pandemic, and the exciting possibilities of filming the work for a digital season.
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| LA VOIX HUMAINE
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