singer-songwriter Christina Rosenvinge He thinks the Greek poet Sappho, whom he will bring to life at the 68th of the Mérida International Classical Festival, was “a Rosalia of her time” because people learned her songs and “had been around for centuries”.
“It is not a whim to interpret the Sappho song,” explains Rosenvinge (Madrid, 1964), because the poem was not written because it “preceded papyrus.”
The singer-songwriter emphasizes that Sappho, who was the inventor of the plectrum to make the lyre sound louder when playing the lyre, did not write “sincere and romantic poetry”, but “reached many people” through music, and her songs were learned while attending big celebrations.
Today, Rosenvinge is premiering a work that has been described as “a musical and visual poem with a view,” for which, in addition to the show, she is the musical director of the show and Marta Pazos is the stage manager. The play can be viewed at the Teatro Principal in Alicante in September as part of the classical theater festival. Sappho is a scenic, musical and visual poem that explores the figure of the great poet of Lesbos, who values the female role and its visualization.
He sees acting for the first time at the Roman Theater in Mérida as “a dream” and for this he made an “immersion work” in Sappho’s poetry.
He admits to having “total artistic freedom” because, although he made a “very respectful lyric” adaptation, it was “too musically extreme”.
And what’s possible in his view, thanks to the accompanying cast, is definitely the live music that Rosenvinge’s piece stands out for.
Music plays a special role in this representation, as it becomes the ideal medium to convey Sappho’s thoughts: loving freedom, hedonism, emotional independence…
But little came of him because he talked about “love between women” and “questioned the order,” says the Madrid artist.
Thus, while the works of all of his contemporaries were copied, Sappho’s work “came into the 20th century in small pieces,” explains Rosenvinge.
The singer-songwriter notes that although Sappho is considered a feminist, “that concept didn’t exist back then.”
She argues that there is a “little feminist theory” in the study because the fact that ten women made up the staff is already feminist. No need to say the word or put a political note on it,” she said.
She realizes that festivals with a large projection like the one in Mérida have a long-silenced responsibility to “celebrate female talent,” but this is not simply to “show that women are a necessary representation in programming.” ”, but normalize it.
Rosenvinge is confident that the work will reach and inspire new generations, as the youth, contrary to popular belief, have “a very intelligent audience” and also “have an enormous audio-visual culture.”
He wonders what the public’s reaction will be. “There will be those who like it a lot or feel scandalous at times.”
As for the possibility of interpreting his musical themes in the Roman Theatre, he states that this piece is a “concert” in itself and he plans to record it in the future. Rosenvinge has been doing this work alternately with a Latin American tour and other projects in her 30-year music career.
The mysterious and mysterious Sappho is a respected and respected author who has written more than ten thousand lines to date, but only a few complete poems and single lines remain. For Rosenvinge, Sappho was a figure who “goes unnoticed but shows female talent when left unchecked”.
Rosenvinge describes the “sapphic fraternity” that both the public and the heroes themselves managed to create in the group during the performance, in which they aimed to “leave better than when they were hired,” both personally and personally. she admits she has “total freedom” at the human level and creating the work, so you’ll see “a different Sappho celebrating life.”
Stage manager Marta Pazos states that Sappho’s poem is “designed to be sung,” so they want to “transform things that may seem so distant but very contemporary into the present.”
Pazos’ idea of bringing Sappho’s stories and poems into the present is to “take away the ruins and elevate their essence” and display a work that “combines eroticism and free love with a celebration of life”.
Another of the work’s creators, María Folguera, underlined the way of combining “history and tradition with pop music” and concluded by showing that the representation can be like “a goddess festival in ancient stones”.
For this reason, Pazos emphasizes that despite his death, the work will be the “moment and accompaniment from death to victory” of the great poet of Lesbos.