Clown(s)

SATB solo voices; SATB chorus;
0.0.0.0-1.1.1.1-perc[snare/cym/glock/b drm/tom/3gongs/tri/hihat/tam/ratchet]-ondes Martenot-pf

Clown(s) is an artistic tribute to the life of the clown. Conceived as a “favola in musica”—a musical fable—the opera explores the universal life cycle of the clown, from birth to old age, through youth, adolescence, and adulthood. Composed for four solo singers, choir, brass ensemble, percussion, and ondes Martenot.

Prologue
Scene 01 Birth
Intermezzo 01
Scene 02 Childhood
Intermezzo 02
Tableau 03 Adolescence
Intermezzo 03
Tableau 04 Young Adulthood
Intermezzo 04
Tableau 05 Mature Adulthood
Intermezzo 05
Tableau 06 Old Age
Tableau 07 Death
Epilogue

Le Devoir [translated from French]

“a stunning masterpiece”

“The singularity of Clown(s) within the operatic universe should earn the composer an even broader and more rapturous international response than Svadba, her previous and widely acclaimed operatic work.”

"What defines the genius of Clown(s) is not only its originality, but its power, intelligence, and extraordinary level of realization.”

La Presse [translated from French]

“There is everything in this score: a Ligeti-like chorus at the clown’s conception ... and several passages whose rhythmic vigor recalls Stravinsky—especially Les Noces. But above all, it is Sokolovic—her unmistakable gift for atmosphere-building and instrumental color.”

“There is circus, commedia dell’arte, Fellini, and much more—true theater injected directly into the veins.”

My Scena [translated from French]

“The emergence of a new genre.”

“Clown(s) represents an arrival point—a decisive moment in an artist’s life after which one can say there is a ‘before’ and an ‘after.’”

“The choice of the ondes Martenot … is an act of inspired genius.”

Opera Canada

“I’ve never seen anything remotely like it—and I doubt I ever will again.”

“Clown(s) is full of driving rhythms, strong contrasts ... haunting melodies and striking dissonance.”

“It’s rare for an opera to feel genuinely interdisciplinary.”

I like clowns. They are on the margins of the artistic world, but at the centre of how we explore the human condition.

Despite my ambivalent relationship to circus, I have always been fascinated by traveling entertainers from all around the world and throughout history – artists who arrive in a community, perform, and leave again in search of somewhere new to set up camp.

My initial inspirations were the book Masques et bouffons by Maurice Sand and the Federico Fellini film I clowns. I then consulted my brilliant colleague Mariella Pandolfi, whose insights paved the way for the creation of this piece.

Like a “favola in musica” or musical fable, Clown(s) explores a clown’s life cycle through the full gamut of human emotions – joy, love, fear, anger, surprise, sadness.

Through perpetual shifting tableaux, filled with energy and exuberance, I have created a Baroque fresco of an opera, one that combines all my artistic passions: puppets, shadows, acrobatics, and an abundance of Balkan rhythms and effects.

Both cinema and opera are quintessential total art forms. Although cinema may have taken centre stage a century ago, it is now my turn to draw inspiration from innovations in the art of film: Fellini’s underdogs, Keaton’s ingenious burlesque, Chaplin’s tragicomic humanity, the rhythmic absurdity of Tati, and the rich imaginations of Robin Williams or Jerry Lewis.

Clown(s) is gratefully dedicated to Mariella Pandolfi.

-Ana Sokolovic