In the opening of the 19th edition of the George Enescu Festival in Bucharest the unique work of the musical genius.
Edmond Fleg and George Enescu created through text and music, in an oratorical work with multiple challenges for the choir, as well as with prominent soloistic arias, created when a little intense, when voluminous, at the same time with a profound main role, the history of Oedipus, starting with his birth and ending with his death. There is however, a difference, apparently of reduced proportions at the start, but taking into consideration its temporal origin, which is, in either case, essential. As in the initial opera, the answer of Oedipus at the Sphinx's riddle is 'the man'. Only that the question of the monster is asked differently, it is less dressed in a riddle-poem, interrogating directly who is stronger than faith.
In the opera of Enescu, Oedipus is indebted to motivate his answer and to accept his fate in order to defeat it, and regarding the blind messenger, the one who gives him back his sight and then reminded him that he is guilty without fault, a criminal, he is not to punish him and bring him to silence. The recognition and admission of the guilt and of destiny, the power to not escape, to return to the bases of the past make the present bearable and bring a ray of light on the dark horizon.
A walk through Bucharest, in September of 2009, turns the sight on the wounds of the past, but also on present, dark clues of the past and of its facts that are creators of destiny being [resent everywhere.
The premiere of Oedipus, a co-production of Théatre du Capitole de Toulouse and of the National Opera in Bucharest, opened the George Enescu festival of 2009. Numerous representatives of mass-media and members of government are present in the overfull hall, staying together in a unanimous, never before encountered and seen manner.
Under the musical conduction of Oleg Caetani, the evening begins with the event of the discovery of this work of art. The natural, oratorical directing with antique appearance of Nicolas Joel (director of the Opera in Paris) suggests that, from a scenic point of view, the opera ardently wants itself to be sensually discovered.
The choir and the orchestra of the National Opera in Bucharest received the ovations of the visitors, there is singing and a wonderful interpretation. The choir, homogeneous and with great arching, melodious, but sometimes also extremely rhythmic, other times recitative, when commentating, animated, when touching to the maximum, as festive as spiritual. Just as the orchestra. The tension doesn't give up, the rough cascades of sounds frighten, ambient images of cosmic dimensions are found in a contrast with the mysterious, vibrant passages. However, Caetani seems a little tired and the public perceives every now and then the hidden potential of the orchestra until the end, at the end that is gashing with light, when Oedipus, with his sight regained, leaves the stage of this worldly theatre, being at peace with himself and with his fate.
The roles are remarkably interpreted by the ensemble of the National Opera in Bucharest. I would especially like to point out the role of Jocasta, interpreted by Oana Andra, that of Antigone, interpreted by the debutant Crina Zancu or 'the expressive Sphinx' sang by Ecaterina Tutu. Horia Sandu personifies Tiresias in an archaic-prophetic manner. In the main role of the premiere the guest from Toulouse, Franck Ferrari, shines interpreting with a lot of authenticity the complicated character of Oedipus. At the second representation Ștefan Igna makes himself remarkable in the same role. Contrary to his French colleague, he is more anchored in the action, less distanced, he interprets the main role in a more touching manner, charming the auditorium.
