Michelangelo Drawing Blood (2013)
A music-theatre work in one act
for bass recorder, theorbo, percussion (timpani, dulcimer and tubular bells) and viola da gamba, trombone ensemble (alto, 2 tenors, bass), countertenor, choir (SATB)
Duration: 75 minutes
Inspired by Michelangeloโs sketchbooks, sonnets and figure studies, Michelangelo Drawing Blood uses as a starting point the artistโs own concept of “releasing” a sculpture, and explores the process of creativity and creation.
Through a series of a dozen scenes – episodic, real and imagined – the work contrasts Michelangelo’s conception of creativity and divine vision with his own internal struggles.
Choreography: Andy Howitt
Set design: Alex Robertson
Lighting design: Andy Hamer
Film: Barnaby Dicker
Recording engineer: James Clarke, Ty Cerdd studio
Production manager: Chris Wicks
Technical support: Alex Russell
Creative Consultant: Judi Hughes
Administration: Maja Palser
Photography: Toby Farrow, Andy Hamer
First performed at Forum Theatre, Malvern on 22 March 2013 with James Hall (countertenor), Lรกszlรณ Rรณzsa (bass recorder), Jamie Akers (theorbo), Michael Clark (percussion), Ibrahim Aziz (viola da gamba), Aaron Jeffrey (dancer) and Stefano Giglioni (actor)
Website for Michelangelo Drawing Blood
Score
Instrumental parts
Instrumental parts available at the International Music Score Library Project (IMSLP)
Audio
Images
Design plans
Video
Press
“Barber’s score uses Renaissance instruments โ theorbo, bass recorder, and viola da gamba โ alongside contemporary percussion. Setting extracts from the Catholic mass and from Michelangelo’s own writings (even including a shopping list), Barber creates a palindromic structure over a series of 17 scenes. The music is atmospheric: the clear tone of James Hall’ss countertenor solos have a haunting quality, while antiphonal effects created by pre-recorded material, combining voices with brass instruments, add to the spatial experience…The sculptural element of Alex Robertson’s designs are captured on a suspended bas-relief, on to which video images are projected, but it’s the music’s balance of muscularity and sensitivity that emerges most strongly.”
Rian Evans, The Guardian, 4 April 2013
“This extraordinary piece of music theatre, created by Sound Affairs, is almost in the nature of a seance, a hypnotic blend of music, dance and theatrical staging which uses cleverly arranged light structures in a compelling way. The general theme is based on the sketches Michelangelo drew up for the Battle of Cascina a fresco he never completed. Two dancers present the artistโs strivings as he dreams of the fresco, he will never bring into the light. Here male nudity is used throughout the evening to underline Michangeloโs adoration of the male body as a conduit to the mind of God. This is bravery of a kind I rarely meet with in the theatre.”
Richard Edmonds, Birmingham Post, 2 April 2013
Wales Arts Review
Performances
| 22.03.13 | MALVERN | Forum Theatre | Sound Affairs |
| 27.03.13 | CARDIFF | Sherman Cymru | Sound Affairs |
| 25.04.13 | LONDON | Southbank Centre, Purcell Room | Sound Affairs |
| 26.04.13 | MANCHESTER | Royal Northern College of Music | Sound Affairs |
| 27.04.13 | LIVERPOOL | Unity Theatre | Sound Affairs |
| 03.05.13 | CAERNARFON | Galeri | Sound Affairs |
| 07.05.13 | CAMBRIDGE | Mumford Theatre | Sound Affairs |
| 08.05.13 | SPALDING | South Holland Centre | Sound Affairs |
| 09.05.13 | BIRMINGHAM | mac (Midlands Arts Centre) | Sound Affairs |
| 10.05.13 | SWANSEA | Taliesin | Sound Affairs |
| 17.05.13 | BRECON | Theatr Brycheiniog | Sound Affairs |
| 14.06.13 | CHESTER | Music Festival | Sound Affairs |
| 11.07.13 | CHELTENHAM | Music Festival | Sound Affairs |
| 07 โ 15.08.14 | EDINBURGH | Fringe Festival, Augustine Church | Sound Affairs |
Programme
Credits
Produced by Sound Affairs with the financial support of: Arts Council of England, Arts Council of Wales, Esmรฉe Fairbairn Foundation, The Radcliffe Trust, Hinrichsen Foundation, The Leche Trust, Gibbs Charitable Trust
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Charlie Barber 