Le Balcon

A Balkon librettóját Jean Genet szinmüve alapján Francoise Morvan, André Markovitz és a zeneszerzö irta. Az operát 2002 juliusában az Aix-en-Provence Fesztiválon mutatták be. Genet müvét sem a hagyományos operai, sem a megelözö Eötvös-opera eszközeivel nem lehet hitelesen megközeliteni és elöadni. Különösen igaz ez a szinészi játékra, mivel Genet szürreális, abszurd szinháza nem teszi lehetövé az "emelkedett" operajátszást. Eötvös muzsikája mind zenei, mind technikai értelemben igen magas követelményt állit a szereplök elé, akiknek a zenei nehézségeken felülemelkedve, elsösorban mégiscsak szinészként kell megközeliteniük szerepüket. Eötvös törekedett arra, hogy müve "franciás" legyen, és a játék "zenei miliöje" illeszkedjen a megidézett korhoz és a helyszin, a bordély atmoszférájához. A groteszk cselekményhez, a kabaréba hajló harsány szinpadi játékhoz illö zenei stilust Eötvös végül a francia sanzon világában találta meg. Koncepciójának modelljét - miközben A Balkon egyáltalán nem tekinthetö stilusimitációnak - Fréhel, Jacques Brel, Yves Montand, Leo Ferré zenéjében és elöadói modorában kell keresnünk.
(Müsorkalauz, Budapest, 2005. Várnai Péter)

Nach der fast "handlungslosen", sehr emotionellen Tschechow-Oper "Drei Schwestern" habe ich einen Text gesucht, in dem die Bühnenaktionen "explodieren". Bei Gener kann man dies wörtlich nehmen; auf den Straßen tobt die Revolution, das Palais-Royal wird in die Luft gejagt, während sich die Kunden in den speziell eingerichteten Salons des Bordells "Le Balcon" mit den Requisiten und Kostümen der wichtigsten gesellschaftlichen Funktionen verkleiden: Sie möchten Bischof, Richter oder General werden, und sei es nur für eine halbe Stunde. Die Mädchen helfen, und Madame kassiert das Geld für dieses zweifelhafte Vergnügen. Das Stück ist ein herrliches, ständig funkelndes Rollenspiel, ein Theater im Theater. Meine Musik "kleidet" sich manchmal auch in die "Manieren des französischen Stils", aber das wichtigste war für mich, die wunderbar frivole, poetische Sprache von Genet verständlich bleiben zu lassen. Deswegen benutzte ich viele groteske, komödienhafte Kabarettmusik-Elemente, und manchmal kommt meine Musik in die Nähe des französischen Chansons: Fréhel, Jacques Brel, Yves Montand, Leo Ferré haben mir "Modell gestanden". Aufgrund der starken Verbindung zwischen Sprache und Musik kann diese Oper nur in französischer Sprache (mit Untertiteln) aufgeführt werden.

Peter Eötvös

Le balcon: Synopsis
Inside Le Grand Balcon Madame Irma´s bordello. Outside, the clamour of a revolt can be heard.

Part One.
I. The Bishop slowly puts his civilian clothes back on, pays Madame Irma and takes his time leaving the bordello. He has just played out a scene of benediction and confession with one of the prostitutes (the Woman) and, having asked if he may stay a while longer in solitude, contemplates his own image.
II. The Judge tries to extract a confession from the Female-Thief in the presence of the Executioner; but in this game of domination, the roles become reversed and the accuser is willing to grovel at the feet of the accused.
III. Irma introduces a prostitute to the General. The prostitute helps the soldier put on his uniform and then becomes his mount. The General straddles her and as he rides he dreams of his own glorious death to the sound of the Funeral March.
IV. Irma settles up with Carmen and does not hide her true feelings from her. For her part, amid the danger of the revolt, the young prostitute reaffirms her loyalty to the brothel.
V. Arthur, the Executioner, has just ended his session and Irma sends him off to find the Chief of Police whom everyone is waiting for.
VI. The Chief of Police who had in fact arrived earlier, announces that the revolt has spread. Irma reminds him of their former love and evokes how her relationship with Arthur, her pimp, has not managed to erase the memory. When the latter returns out of breath from his errand he is hit by a stray bullet from outside.

Part Two.
VII. Irma brings in the musicians and then the Court Emissary, who makes allusions to the possibility that the Queen is dead. A terrific explosion outside seems to have destroyed the Royal Palace: The Emissary then bows down before Irma.
VIII. The Bishop, the Judge, the General, then the Hero (the Chief of Police) and the Queen (Irma) appear on the balcony. In the shadows, Chantal and Roger declare their love for each other. Roger, a regular at the bordello is also leader of the insurgents, Chantal, a former prostitute has become the muse of the revolution. A crowd comes to find her so that she may sing after the attack on the Royal Palace; but she is hit by a bullet the very moment that she is presented to the Queen.
IX. The Bishop, the Judge and the General are gathered together for a photo session. The Chief of Police affirms before the Queen and the Court Emissary that victory is now in his hands.
X. Everyone is invited to discover the reward that the Queen has set aside for him: a new salon, a Mausoleum, in which Carmen makes Roger play out the role of the Chief of Police. The Chief of Police thus finds himself consecrated in the brothel, but the former insurgent, devastated that the revolt has failed, pretends to castrate himself. Finally, accompanied by the sound of machine-gun fire, the Queen dismisses everyone. Becoming Madame Irma once again, she turns off the lights of her establishment and retires until the following day.