This is a demo fragment of the opera.
The video is not of the opera and serves an inspirational purpose.
My newest production is the creation of an opera called 'No Evil'.
Due to the pandemic, a lot has changed. This was going to be a live concert with orchestra, singers and what I call, a'living decor'.
This living decor included an animated representation of the world. To still continue the production of the opera in a 'pandemic friendly' manner; I decided to redesign it. This opera will now become an interactive animation film in which YOU can choose how the story will unfold.
The story of the opera is about a big city, an utopia. A big amount of citizens on a relatively small surface, supported by high buildings, modest in comparison to the wall that separates the city from the outside world. Structured, synthetic, prosperous, peaceful. The people live in unity. Their leader is worshipped - the people are grateful for this society.
Antagonist: Marcellus, his influence reached close but he remains untouchable and unreachable - to be adored from a far. Every year there is a celebration before Marcellus goes outside of the wall to get the recourses that are needed to keep the city alive and prosperous.
In this city lives a young woman named Miranda.
Protagonist: Miranda. She is personally reachable, but her influence doesn't reach far. She is anonymous in this big city and is one with the mass and the accessory faith in their leader.
Miranda witnesses a fall. The mason is pushed of the wall by Marcellus and is therefor banned to the outside world; death. When Miranda tries to understand what is happening, we see the first cracks in the utopia. When she fall asleep that night, we end up in a spiral to the dreamworld, where Miranda accompanies Marcellus on his journey outside of the wall.
What will Miranda find behind the wall?
There are literal and figurative walls that we build around us in our society. We do this to shield and dissociate ourselves from human created conflicts and abuse that become a threat to our comfortable existence.
In the beginning of the story I recognize myself in Miranda. Her nativity and negligence make her comfortable in her utopia and connections to others, but harmful and ignorant about the shielding from raw realities and dystopian power relations. For the first time, she will face power and prosperity at the cost of others.
Walls rather than Bridges
We Rather don't see Evil, we have a hard time listening to a confronting speaker when it comes to our morality and we find it difficult to speak to real issues.
(We) See No Evil, Hear No Evil & Speak No Evil.
This is the reason that I want to tell this story. I am curious to see if people that live in a form them naturally comfortable society with all its acquired rights, still dare to look in the mirror.
If not, this will just be like a fairytale with a hidden moral, like Little Red Riding Hood.
Story and music by Aura Bouw
Libretto written by Merit Vessies
Directed by Peerke Malschaert
Conducted by Katerina Sampakou