Tuesday, February 14, 2017

SMS Szent István

Blessed are those who died for carnal earth
Provided it was in a just war.
Blessed are those who died for a plot of ground.
Blessed are those who died a solemn death.


Blessed are those who died, for they have returned
Into primeval clay and primeval earth.
Blessed are those who died in a just war.
Blessed is the wheat that is ripe and the wheat that is gathered in sheaves.
-- Charles Péguy (as quoted in Peter Wagner's libretto)

Sunday, February 12, 2017

UKSUS 2016

We gave UKSUS a good brush up and comb out and trotted it out once again for the perusal and hoped-for edification of the Oakland Arts Audience, as well as those who happened to be caught up in the rush. This all at the end of last August and early September, but just now I begin to write, it being a production of some mean energy outlay and the recovery time long and sometimes arduous. For a while after, I was kept in a smallish white-painted room in the sanitarium at Mainz, daily cleaned by the young Eugen (or perhaps that was the name of his dog), but those in charge have now allowed me out on my own recognizance, and so I now convalesce here in our Palazzo in Firenze, listening to the bells calling us to vespers.

The gloriousness of Kharms' writings came through even better this time, for two reasons: one because it had all sat with us for a while, and things that had seemed obscure originally now were transparent as a pool of clearest water, and two because of the wind which was just then beginning to blow: a wind of authoritarianism carrying a scent of those old bad days of Stalin and the gang. The OBERIU's joyful silliness in the face of that continues to impress given the despair that has settled over the art scene here in the US of A, collectively wishing that we would all wake up from our odious dream;
"And so we hope that we, now, living in our own time of horror, among those who impose their piggish and tinpot will on others, can find our own place of exultation, our own reason for continuing in this life, and finally our own triumph over all that works to contain us." -- from the marketing material for UKSUS
The video came out quite well. It is above and I suggest you watch it. We put on the show at the Oakland Metro Operahouse, a space that let us spread out onto a multiplicity of stages, and that had a feel very different from the little theaters in which we usually perform. The Metro has a surprising amount of death metal and wrestling for an opera house, and the stink of beer is ever-present, and all this beer-metal-ness just freed us up. In one big change from before, we hired three soviet soldiers - the bouffon performer Sabrina Wenske and the actors Nathanael Card and Peter Overstreet - to bully the audience from the moment they arrived.  Those who came early had to queue up outside, waiting and waiting, after which their passports were stamped and they were sent from one department to another, and only then were they allowed in to where the late Pushkin lay in state, felt up and whispered to by Fefjulka and some of the members of the audience, at least one of whom tried the French Kiss.

Several of my favorite moments: One) when a woman in a motorized wheelchair arrived and the soldiers jumped up and questioned her - where is your permit for this? - and checked for bombs and contraband underneath by means of a mirror and Two) when at the end of the show, before the audience was done clapping, how the soldiers pushed and cajoled them to leave - entertainment done, time to go, out, all done now.

Of course there was also the piece itself - the actual opera - and the performers, who were fantastic. Nikola came to Stalin and Our Mama with a great and renewed intensity, plowing into the part. She seemed really angry, maybe in fact because of the aforementioned foul wind, and who since has been advocating for me to write operas full of "violent biker chicks beheading awful men."

Laura, of course, as Fefjulka - she's my angel, how much I owe her - was spot on, singing beautifully: you are a god of nine legs still brings the chills - a perfect example of music that's maybe more-or-less OK before but is brought to life by the performer, that becomes something else. I loved every night watching her and Nikola do the clockwork bit in the OBERIU costumes, and the two of them together have such soprano power in their duets - it knocks you off your feet.

Then there's the entrancing Timur, who had to jump into the Kharms / Pushkin role when Duncan was called away. He's a boy of the old empire, born in Almaty KZ before the fall of the wall, when they were still doing October Revolution Parades in Red Square and instead of the hot dog stands and Stalin bobbleheads. He took on some of Duncan's bits but transformed them into his own deal and added a cavalier freakiness, and then, at the end, into a bit of geometry.

I was just now remembering how long I've known Bob Ernst, who was Michelangelo and the notebook of Michelangelo, as we go back to Jon Jost's Sure Fire, back to before that first time at the Sundance Festival, and then when Jim hired him to choreograph The Knife for Mary Forcade and Chris Brophy in the first performance of A Little Girl Dreams of Taking the Veil. As Duncan once said, Bob can't help but be funny, but he also rips you up in his death, the cardiac arrest, after he bids farewell to the sea, farewell to the sand, and how high you are, o mountain land.

Saturday, July 30, 2016


I love love lists: the authors who have written about whales in Moby Dick's Cetology chapter, the f*cked-up misogynist's library in Darconville's Cat. Joyce is chock full of them, and there is Joan Didion's packing list from the White Album. But for absolute richness of tongue-loving collisional beauty, it's hard to beat those in Kharms. I loved setting them, I love hearing them song or recited, and the phrases connect to so much of my life: the Song of the Sirens, small smooth-haired canines, artworks without theoretical foundations, the lack of persuasiveness of mathematical proofs, a perfect sound.

Sunday, July 10, 2016

UKSUS as it was

Below: David Papas's behind-the-scenes look at last year's production of UKSUS.

Wednesday, July 6, 2016

UKSUS 2016 announced!


Aug 30
Tue 8pm
   Aug 31
Wed 8pm
Sep 3
 Sat 8pm
Sep 4
 Sun 2pm
Oakland Metro Operahouse, 522 2nd Street, Oakland CA

Directed by Jim Cave • Conductor Bryan Nies
Design Lynne Rutter

Timur Bekbosunov • Laura Bohn • Nikola Printz
Bob Ernst • Roham Sheikhani

accompanied by the orchestra
Beth Custer • Rob Wilkins • Joel Davel • Diana Strong
John Schott • Ela Polak • Lisa Mezzacappa

A phantasmagoria of delights, the music jazzy, racous, but bitterly sweet,UKSUS is the latest by Erling Wold, composer of Certitude and Joy, A Little Girl Dreams of Taking the VeilQueer, and Mordake. 

UKSUS is an autobiography of Daniil Kharms and the OBERIU in the Soviet Union of the 1930s, a narrative told through their stories and brief lives, as the OBERIU - The Association for Real Art - maintained their love of words and nonsensical art to their deaths in Stalin’s Great Purge, Kharms starving to death in a psychiatric hospital in 1942 after his arrest at the hands of the NKVD.

Kharms was known for decades in Russia as a writer of books for children, even though he hated children and imagined their painful deaths, until his adult works, secreted away by a friend, were rediscovered and reclaimed by a new generation of troublemaker artists who have run afoul of the authorities. Pussy Riot claimed the OBERIU poets, saying they "remained artists until the end, inexplicable and incomprehensible, and the librettists, artistic descendents of the group, met working in the Moscow theater of Kirill Ganin, who himself was arrested for artistic hooliganism.

Oakland Metro Operahouse is about a 20 minute walk from the 12th Street BART station, and there's a lovely parking garage just across the street.

Other questions: uksus@erlingwold.org 


Friday, March 25, 2016

How does one own the things one discovers

One of my pet annoyances is announcements by friends of things just found, which they hope to be first to show you: posts of clickbait articles and RIPs to just-dead celebrities being two of the most grating.

But I am here to confess I am the worst offender. And my likes and dislikes aren't simply joined to the ephemera ebbing and detriting on the waves of the social networks, easily posted and as easily ignored. No, mine are crafted into Great Works of Art - Operas for God's sake - that take years of toil and untold piles of euros and dollars and scribbling, writing and rewriting and marketing and pushing and asking for money and then berating singers for not getting it right and reducing them to tears, and after that the premiere and the lights and the hushed silence of those who have paid for the experience to listen to What I Have to Say about this Thing I Found.

So, at the beginning of last year, after the English language production of UKSUS, I decided I just wasn't going to do it anymore. The silliness of it all became frighteningly apparent, as when the clouds open and the rays of the sun come a'shining through. Stop showing off, I said to myself, stop seducing people, stop ruining other people's perfectly good novels and stories with your tepid attempt to adapt the unadaptable. Does one really need approbation its associated sycophants? Isn't it enough, I asked myself, to simply read a book one loves and to bathe in its language, and maybe to put it on a special golden shelf with a bit of glitter, and to dust it carefully from time to time?

And so this I did, for many months. And I became everything I had never been before: a layabout and a slugabed, one who spends her days watching videos on p-adic numbers, who whiles away the night on the meaningless drivels of the day job, and in between the jack off and then the jack off again. And in between I would read and read about Donald Trump and any else I could find that would deepen my depression, and it was during one of those wallowings that I came across this interview with Mark Leyner, whose books are in fact on that special golden shelf. He interviews like he writes, which is to say brilliantly. My favorite quote:
Now I feel like a completely alienated and marginalized person who traffics in some form of discredited esoterica.
Yes, this is me as well, although Leyner's esoterica is much in the pop world, whereas mine is modern opera and a never-ending fascination with the intricacies of the Christian Religion, cf. Synodus Horrenda.

But now a year has gone by and I've forgotten almost all the resolutions I made.  Except for the seducing part. And I'm doing another production of UKSUS in August at the Oakland Metro Opera House, and I seem to be starting another project as well, an Umbrellas of Cherbourg for the modern fascist age.

Wednesday, November 18, 2015

Because a knock on the head gets them thinking

photo by the glorious empress herself
Dear Reader,

The years have taken their toll and it is with great sadness that I announce my impending death. In dying, I will release myself from all connection to the Earth and its peoples and problems, and take the long Sleepe / during the one Everlasting Night  / after our Short Light / contrariwise / to the Sunne / who may set and rise†. I guarantee that this will be a most Theatrical Death, the favorite action of actors, full of gravitas and chest pounding and tearing of the hair, sure to inspire pathos in even the most jaded viewer.

But, before this long-awaited decease, I wanted to get my affairs in order and cross a few things off the Todo list, and the first is to write of the glorious performance of UKSUS seen here above and below.  First, I simply loved it. Fuck, just look at the photo above. What a delight! My son and great wit Duncan to the left, next my nemesis and alter ego Bob Ernst, and Roham Sheikhani, and my ofttimes partner-in-art Laura Bohn, and then Nikola Printz, an old woman so against type, all dancing among The Empress's magnificent constructivist scenics.

Now, if you put your ear just to the left of the photo and listen very closely, you can hear our leader and narrator Jim Cave. And that loud and somewhat jazzy music played so ferociously? That's the band, and the whole mess led by Bryan Nies, and me and my lovely wife dancing to it all night by night.

So - many favorite bits, in no particular order: the dialog between a corseted Stalin and Pushkin/Kharms, the bed scene between Kharms and Marina, the so pretty Requiem Mass for Michelangelo, Beth Custer's Divan Song, the slapstick beating, when Nikola sings that really pretty part, the Pussy Riot moment...

I have been worried about that Pussy Riot moment. I mean, who is really going to know, but I am supposed to attend Lynne to Saint Petersburg aka Leningrad next year and things are a little funny over there. Putin has said "Whoever does not miss the Soviet Union has no heart. Whoever wants it back has no brain." - but it's pretty clear that he does want some version of it back. Not the old Atheistic Communist Stalinist version but rather the Russian Orthodox Theocratic version, both of which do the topsy-turvy dance of Lysenko-ist reality warping, both of which hold one by the throat where, if one doesn't simply croak, one can find oneself in a Very Bad Place indeed. Kharms and his friends found themselves there, Pussy Riot found themselves there. So many ways to transgress. It's wonderfully telling how the official communist newspaper was titled Pravda, and like all good autocrats they still have their truth which is the truth. There is no other truth.

I have my own truth by the way. Some of it I try to tell through my works - partly hidden truths that tell lies that tell the truth - but some I state here baldly and with simple words.

As a composer, I must become inured to criticism, but it's not always easy, and I must remember that those who criticize know so little of the work, having spent so little time immersed in it, and maybe not wanting to put the effort into understanding, and coming to it sometimes from a different world where the assumptions about what is good and what is bad are so different than mine. And maybe it's a bit whingy to focus on a few bad reviews but, seriously, how can those who loved Certitude and Joy or - especially - the surrealistic delights of A Little Girl Dreams of Taking the Veil, not be able to let themselves experience the unbridled joyous flow of brilliance of the performers channeling the fantastic texts of the OBERIU and Kharms, masterfully knitted by Yulia and Felix into a subtly-threaded Wunderwerk?  Each time I saw the piece, first in the original German-language production, and then again in my native tongue, I was taken by how well it worked together. I've written the big monstrosities of operas, sprawling and unwieldy, but this one was a tight and lovely piece, flowing from one moment to the next, filled with tears and surprises and joy.

Safe travels,



† Catullus 5, duh
Related Posts with Thumbnails