Thierry Tidrow at the Deutsche Oper Berlin

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Thierry Tidrow

Cologne-based Francontarien Thierry Tidrow’s new chamber opera is about to have a world premiere at the Deutsche Oper in Berlin at the Tischlerei stage, the smaller theatre within the DO dedicated to commissions and experiment. (More on the Tischlerei season here.) A couple of years ago the German opera house in collaboration with the Hanns Eisler School of Music Berlin held a competition for new composers and librettists and out of about 40 submissions, the jury, which included among others Aribert Reimann, chose three, Thierry Tidrow among them. His librettist was to be Uta Bierbaum. All three operas will premiere as one triptych this Friday in Berlin within the program titled Scenes III at the Tischlerei. (Full cast and creative here.)

Here’s what Thierry told me about his one-acter, My Corporate Identity:

It’s about people pretending to be who they are not, pretending to be happy in order to fit in, in this case in the corporate world, which affects not only their personalities, but the music and the way they speak. In Germany the corporate language is half English, full of vapid buzz words. There is this character in the opera named Boss, and these are his first lines:
Content Content Content Content! Das Wechselspiel von Tradition und Innovation ist die Quelle, die uns immer wieder neu inspiriert. Es geht um bestechende Kreativität! Immer auch um höchste Authentizität! Sich immer neue Ziele setzen, ständig in Bewegung bleiben! Content Content! Das ist digital, das ist Strategie, das hier sind die Key-Notes, das ist kreativ, das ist Social Media, das Wording ist top, die Performance ist GEIL! Noch eine Runde Q&A? Wir sind im Work-Flow, das bringt uns Insight, wir sind hier alle on the same Page, back to WORK NOW. WIR! Danke Danke Danke, TEAM, ihr macht uns zu dem, was wir sind! Rosmarin, Porsche, Lifestyle. Yeah!

The main character, Woman with the green silk blouse, is constantly telling us how happy she is with her life, as if trying to convince us. The whole opera is actually quite violent since the characters are all too worried about the void (which manifests itself as a crack in the coffee room, at first too small for anyone to care, but slowly becoming bigger), that they just continuously talk about how great and perfect everything is. This goes on until the main protagonist exhausts herself to the point where her body decomposes, which is almost sort of freeing for her.

There is also an alter-ego, the other woman also wearing a green silk blouse, who is like the inner child of the protagonist and who has the only lyrical and heartfelt lines of the piece. She is in constant observation of the world around her (seasons changing even though every day of work feels the same) and of her body (of its nature and later of its decay). Her text is very poetic, whereas all the others (our heroine, Boss, and Female Colleague) mostly get run-on sentences and matter-of-fact/common sense/truism speak.

The music plays with these different levels of mask-wearing, and mirrors the characters. For example, the colleague who is cartoonishly happy and constantly laughing to a nauseating degree, has energetic and constantly changing material, ranging from cheesy pop song when she sings about how amazing the weekend is to almost Gilbert-and-Sullivan/Commedia dell’arte melodrama when she talks about the crack she’s seen.

But generally the corporate characters only sing when they are putting a mask on. Otherwise they are in a speaking or half-speaking, half-singing mode, in a syllabic way which exaggerates the prosody of the German language (i.e. which notes are emphasized/high, which are low)

Here are some examples of vocal treatment:

Excerpt 2:

Excerpt 3:

Let’s hope a video clip surfaces for those of us who can’t be in Berlin this month. Meanwhile, here’s a fun chamber music piece by Thierry, STYROPORÖS:

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