Silvia Pérez Cruz, ganadora a un Goya en 2017, junto a Pájaro interpretando el pequeño Vals Vienés, extraído del documental "Luna Grande, Un Tango por García Lorca".
Producido por Producciones Cibeles S.L. y con la colaboración de Canal Sur Televisión en el estudio Happy Place
Voz Silvia Pérez Cruz Guitarra Pájaro Guitarra eléctrica Raúl Fernández Contrabajo Pepe Frías Grabado en directo estudio Happy Place Records Producido por Paco Lamato (Paco Prieto Márquez) Ingeniero de sonido y mezclas Javi Mora
Dirigido por Juan José Ponce Director de fotografía Manuel Cruz (Mino) Operadores de cámaras Juanma Carmona y Antonio Galisteo (Gali) Edición José Luis Menacho Producción Ejecutiva Pepe Flores
Brooklyn, 1929. Of course Crane’s been drinking and has no idea who this curious Andalusian is, unable even to speak the language of poetry. The young man who brought them together knows both Spanish and English, but he has a headache from jumping back and forth from one language to another. For a moment’s relief he goes to the window to look down on the East River, darkening below as the early night comes on. Something flashes across his sight, a double vision of such horror he has to slap both his hands across his mouth to keep from screaming. Let’s not be frivolous, let’s not pretend the two poets gave each other wisdom or love or even a good time, let’s not invent a dialogue of such eloquence that even the ants in your own house won’t forget it. The two greatest poetic geniuses alive meet, and what happens? A vision comes to an ordinary man staring at a filthy river. Have you ever had a vision? Have you ever shaken your head to pieces and jerked back at the image of your young son falling through open space, not from the stern of a ship bound from Vera Cruz to New York but from the roof of the building he works on? Have you risen from bed to pace until dawn to beg a merciless God to take these pictures away? Oh, yes, let’s bless the imagination. It gives us the myths we live by. Let’s bless the visionary power of the human— the only animal that’s got it—, bless the exact image of your father dead and mine dead, bless the images that stalk the corners of our sights and will not let go. The young man was my cousin, Arthur Lierberman, then a language student at Columbia, who told me all this before he died quietly in his sleep in 1983 in a hotel in Perugia. A good man, Arthur, he survived graduate school, later came home to Detroit and sold pianos right through the Depression. He loaned my brother a used one to compose hideous songs on, which Arthur thought were genius. What an imagination Arthur had!
By the East River and the Bronx boys were singing, exposing their waists with the wheel, with oil, leather, and the hammer. Ninety thousand miners taking silver from the rocks and children drawing stairs and perspectives.
But none of them could sleep, none of them wanted to be the river, none of them loved the huge leaves or the shoreline's blue tongue.
By the East River and the Queensboro boys were battling with industry and the Jews sold to the river faun the rose of circumcision, and over bridges and rooftops, the mouth of the sky emptied herds of bison driven by the wind.
But none of them paused, none of them wanted to be a cloud, none of them looked for ferns or the yellow wheel of a tambourine.
As soon as the moon rises the pulleys will spin to alter the sky; a border of needles will besiege memory and the coffins will bear away those who don't work.
New York, mire, New York, mire and death. What angel is hidden in your cheek? Whose perfect voice will sing the truths of wheat? Who, the terrible dream of your stained anemones?
Not for a moment, Walt Whitman, lovely old man, have I failed to see your beard full of butterflies, nor your corduroy shoulders frayed by the moon, nor your thighs pure as Apollo's, nor your voice like a column of ash, old man, beautiful as the mist, you moaned like a bird with its sex pierced by a needle.
Enemy of the satyr,
enemy of the vine, and lover of bodies beneath rough cloth...
Not for a moment, virile beauty, who among mountains of coal, billboards, and railroads, dreamed of becoming a river and sleeping like a river with that comrade who would place in your breast the small ache of an ignorant leopard.
Not for a moment, Adam of blood, Macho, man alone at sea, Walt Whitman, lovely old man, because on penthouse roofs, gathered at bars, emerging in bunches from the sewers, trembling between the legs of chauffeurs, or spinning on dance floors wet with absinthe, the faggots, Walt Whitman, point you out.
He's one, too! That's right! And they land on your luminous chaste beard, blonds from the north, blacks from the sands, crowds of howls and gestures, like cats or like snakes, the faggots, Walt Whitman, the faggots, clouded with tears, flesh for the whip, the boot, or the teeth of the lion tamers.
He's one, too! That's right! Stained fingers point to the shore of your dream when a friend eats your apple with a slight taste of gasoline and the sun sings in the navels of boys who play under bridges.
But you didn't look for scratched eyes, nor the darkest swamp where someone submerges children, nor frozen saliva, nor the curves slit open like a toad's belly that the faggots wear in cars and on terraces while the moon lashes them on the street corners of terror.
You looked for a naked body like a river. Bull and dream who would join wheel with seaweed, father of your agony, camellia of your death, who would groan in the blaze of your hidden equator.
Because it's all right if a man doesn't look for his delight in tomorrow morning's jungle of blood. The sky has shores where life is avoided and there are bodies that shouldn't repeat themselves in the dawn.
Agony, agony, dream, ferment, and dream. This is the world, my friend, agony, agony. Bodies decompose beneath the city clocks, war passes by in tears, followed by a million gray rats, the rich give their mistresses small illuminated dying things, and life is neither noble, nor good, nor sacred.
Man is able, if he wishes, to guide his desire through a vein of coral or a heavenly naked body. Tomorrow, loves will become stones, and Time a breeze that drowses in the branches.
That's why I don't raise my voice, old Walt Whitman, against the little boy who writes the name of a girl on his pillow, nor against the boy who dresses as a bride in the darkness of the wardrobe, nor against the solitary men in casinos who drink prostitution's water with revulsion, nor against the men with that green look in their eyes who love other men and burn their lips in silence.
But yes against you, urban faggots, tumescent flesh and unclean thoughts. Mothers of mud. Harpies. Sleepless enemies of the love that bestows crowns of joy.
Always against you, who give boys drops of foul death with bitter poison. Always against you, Fairies of North America, Pájaros of Havana, Jotos of Mexico, Sarasas of Cádiz, Apios of Seville, Cancos of Madrid, Floras of Alicante, Adelaidas of Portugal.
Faggots of the world, murderers of doves! Slaves of women. Their bedroom bitches. Opening in public squares like feverish fans or ambushed in rigid hemlock landscapes.
No quarter given! Death spills from your eyes and gathers gray flowers at the mire's edge. No quarter given! Attention! Let the confused, the pure, the classical, the celebrated, the supplicants close the doors of the bacchanal to you.
And you, lovely Walt Whitman, stay asleep on the Hudson's banks with your beard toward the pole, openhanded. Soft clay or snow, your tongue calls for comrades to keep watch over your unbodied gazelle.
Sleep on, nothing remains. Dancing walls stir the prairies and America drowns itself in machinery and lament. I want the powerful air from the deepest night to blow away flowers and inscriptions from the arch where you sleep, and a black child to inform the gold-craving whites that the kingdom of grain has arrived.
Viajar tem destas coisas, abre os olhos e os ouvidos. Numa FNAC perto da Puerta del Sol, na secção de música clássica, o que passava nos altifalantes soou-me bem e perguntei o que era.
Osvaldo Golijov é um compositor argentino de origem judaica que nasceu em La Plata em 1960 e cresceu entre a música Klezmer e o tango de Piazzola. O que ouvi naquela FNAC era a sua ópera em três cenas "Ainadamar", sobre o poeta Federico Garcia Lorca. Comprei o CD.
Descobri depois que o senhor Golijov fez a banda sonora do "Tetro" do Copolla, de que gosto muito e ainda que esta ópera vai estar no Teatro Real em Julho. E a Nuria Real vai desempenhar o papel de Nuria. Coincidências a mais, parece-me.
Sobre "Ainadamar" (A Fonte das Lágrimas), diz o site do compositor: "Emerging from darkness, the mythic world of Federico García Lorca comes into being. The sound of horses on the wind, the endless flow of the fountain of tears ("Ainadamar"), and the trumpet call of wounded freedom, the aspiration and determination that have been denied generation after generation echo across the hills."
Há um making of aqui abaixo, além de um pouco da ópera. A fotografia acima é de Sébastien Chambert.
En Viena hay diez muchachas, un hombro donde solloza la muerte y un bosque de palomas disecadas. Hay un fragmento de la mañana en el museo de la escarcha. Hay un salón con mil ventanas.
¡Ay, ay, ay, ay! Toma este vals con la boca cerrada.
Este vals, este vals, este vals, este vals, de sí, de muerte y de coñac que moja su cola en el mar.
Te quiero, te quiero, te quiero, con la butaca y el libro muerto, por el melancólico pasillo, en el oscuro desván del lirio, en nuestra cama de la luna y en la danza que sueña la tortuga.
¡Ay, ay, ay, ay! Toma este vals de quebrada cintura.
En Viena hay cuatro espejos donde juegan tu boca y los ecos. Hay una muerte para piano que pinta de azul a los muchachos. Hay mendigos por los tejados, hay frescas guirnaldas de llanto.
¡Ay, ay, ay, ay! Toma este vals que se muere en mis brazos.
Porque te quiero, te quiero, amor mío, en el desván donde juegan los niños, soñando viejas luces de Hungría por los rumores de la tarde tibia, viendo ovejas y lirios de nieve por el silencio oscuro de tu frente.
¡Ay, ay, ay, ay! Toma este vals, este vals del "Te quiero siempre".
En Viena bailaré contigo con un disfraz que tenga
cabeza de río. ¡Mira qué orillas tengo de jacintos! Dejaré mi boca entre tus piernas, mi alma en fotografías y azucenas, y en las ondas oscuras de tu andar quiero, amor mío, amor mío, dejar, violín y sepulcro, las cintas del vals.