Abschlussball, as conceived by Achim Freyer, is an active and powerful conglomerate of voices and sonorous movements, a vast vocal fresco announcing an acoustic apocalypse.
The visionary parable conceived for the actors of the Berliner Ensemble is a free, open work where the actors are themselves and interpreters of epical characters at the same time.
The work is structured in form of a spiral curve rotaing around a deep centre, consisting in 4 Rondò, each constituted by 12 micro-episodes. The Rondò repeats themselves with textual and choreographic variations, with rallentando and accellerando of the dramaturgy, letting emerge solo voices, mytological characters now incorporated in the charismatic presence of the actors personae.
The actors, with their interpretation create an amplification of each word, an analitycal collocation of each text fragment into the acoustic space, creating permanent musical sculptures.
I have recorded the making of this soundly orchestra of language, collecting the personal vocality of each actor and fixing it into some choral episodes, where the voices combine a whole fluctuating entity.
The tape accompaining the performance is made by concrete sounds and popular dance fragments coming from the tradition, from the road, from open and closed social spaces. They represent the outgroup presences, the other existences around the dramaturgical space. The long and articulated sound-collage is the result of a direct collaboration between me and Freyer, a dialog concretised in the studios of Tommaso Cancellieri and Hermann Leppich, searching and composing together his acoustic ideal vision of the opera.