logo
Rufus Wainwright's ‘Dream Requiem' explores catastrophe and redemption

Rufus Wainwright's ‘Dream Requiem' explores catastrophe and redemption

Kuwait Times07-05-2025

The historic Mount Tambora volcanic eruption spewed so much ash and debris that it triggered a 'year without summer' and the apocalypse seemed nigh - an apt parallel to our own chaotic existence, says the eclectic musician Rufus Wainwright. The artist's ambitious modern-day requiem, which draws inspiration from the 19th-century catastrophe as well as the Requiem Mass, will premiere stateside on Sunday in Los Angeles, with narration by the actor and activist Jane Fonda.
The Canadian-American Wainwright composed 'Dream Requiem' as the globe was picking up the pieces after the worst of the Covid-19 pandemic, and turned to Lord Byron's poem 'Darkness' which is centered on the fear and disarray that followed the 1815 Mount Tambora eruption. The artist, best known for his distinct theatrical pop, has focused more on opera in recent years and said the poem is all the more prescient given the looming threat of climate cataclysm, as well as our tumultuous contemporary politics.
US-Canadian singer-songwriter and composer Rufus Wainwright poses during a photo session at the Walt Disney Concert Hall.
'In this day and age, it's a similar kind of intense sense of doom,' Wainwright told AFP in an interview ahead of the Los Angeles show. 'I think we're a little less misguided than they were back then, but who knows what the future holds?' Wainwright's global premiere of 'Dream Requiem' was at the Auditorium de Radio France in Paris last summer, with Meryl Streep narrating and featuring soprano Anna Prohaska.
A recording of the work is available from Warner Classics. Wainwright said Fonda's participation in the upcoming performance with the Los Angeles Master Chorale lends additional intensity to the piece, given her long history of activism and her special emphasis in recent years on climate change. 'She's one of the great heroines,' he said of the storied 87-year-old film star. 'Certainly with what America has been through in the last couple of months, I think it'll be very powerful.' And that the show's US premiere comes mere months after deadly wildfires ravaged parts of Los Angeles adds yet another layer, he said.
Soprano Liv Redpath (left) sings while US conductor Grant Gershon (right) directs the LA Master Chorale during a rehearsal of Rifus Wainwright's "Dream Requiem".
Wainwright has written two classical operas, set Shakespearean sonnets to song and produced a tribute concert to Judy Garland in addition to releasing a string of pop albums. He has a particular penchant for Giuseppe Verdi: 'When I was 13, I listened to Verdi's Requiem from top to tail, and it was like I'd been infected by a virus,' he said. Musical settings of the Catholic Requiem Mass are themselves known as requiems; Verdi's tells of the death-fearing living who seek deliverance.
'I've always been more at ease, you know, communicating dread and foreboding,' the 51-year-old Wainwright said. But it's not all gloom, he added: 'A few weeks after I premiered it, and I had some distance from it, I realized, oh no, there is hope. There is sort of this little glimmer of life.' — AFP
'Redemption and forgiveness' go hand in hand with the dread, and 'I like to maintain some modicum of hope,' Wainwright said. 'Hopefully this is sort of like a resurrection, shall we say, of both that feeling of dread -- but also that need to face the music and deal with the problem at hand.'--AFP

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

In Cairo, the little indie cinema that could
In Cairo, the little indie cinema that could

Kuwait Times

time3 days ago

  • Kuwait Times

In Cairo, the little indie cinema that could

In the heart of Cairo, a small cinema has for over a decade offered a unique space for independent film in a country whose industry is largely dominated by commercial considerations. Zawya, meaning "perspective" in Arabic, has weathered the storm of Egypt's economic upheavals, championing a more artistic approach from the historical heart of the country's golden age of cinema. Zawya was born in the post-revolutionary artistic fervour of the 2011 uprising that toppled longtime president Hosni Mubarak. "There was this energy where people wanted to produce and create, not just in cinema, but in all the arts, you could feel it," said Zawya founder Youssef Shazli. In the time since, it has escaped a wave of closures -- some forced -- of art centers across the capital. Egypt had long been known as the Hollywood of the Arab world, but in the decades since its mid-century heyday, the domestic industry has largely been restricted to crowd-pleasing blockbusters. "It's often said that we're lucky to have a large film industry, with infrastructure already in place," said filmmaker Maged Nader. "But the truth is this industry operates solely on a commercial logic," leaving little room for independent filmmakers, he added. Yet Zawya has survived in its niche, in part due to the relative financial stability afforded to it by its parent company Misr International Films. Founded in 1972 by Egyptian cinematic giant Youssef Chahine -- Shazli's great uncle -- the company continues to produce and distribute films. People arrive at the Zawya cinema in downtown Cairo. A man walks outside the Zawya cinema in downtown Cairo.--AFP photos Young talent For Shazli, Zawya is "a cinema for films that don't fit into traditional theatres". But for young cinephiles like 24-year-old actress Lujain, "it feels like home," she told AFP as she joined a winding queue into the larger of Zawya's two theatres. Since 2014, Zawya's year-round programming -- including both local and international short films, documentaries and feature films -- has secured the loyalty of a small but passionate scene. Its annual short film festival, held every spring, has become a vital space for up-and-coming directors trying to break through a system that leaves little room for experimentation. "I didn't even consider myself a filmmaker until Zawya screened my short," said Michael Samuel, 24, who works in advertising but says the cinema rekindled his artistic ambition. For many, that validation keeps them going. "Zawya has encouraged more people to produce these films because they finally have somewhere to be seen," said the cinema's manager, Mohamed Said. When Mostafa Gerbeii, a self-taught filmmaker, was looking for a set for his first film shoot, he also turned to the cinema. Without a studio or a budget, Zawya "just lent us their hall for free for a whole day", he said, saving the young director 100,000 Egyptian pounds (around $2,000) to rent a location. The heir The light of its marquee spilling onto downtown Cairo's Emad al-Din Street, Zawya is the 21st-century heir to a long artistic tradition that still lingers, though often hidden away in corners of the district's broad avenues. "It's a unique neighborhood with an equally unique flavor of artistic and intellectual life," said Chihab El Khachab, a professor at the University of Oxford and author of the book "Making Film in Egypt". Starting in the late 19th century, the area was home to the city's biggest theatres and cabarets, launching the careers of the Arab world's most celebrated singers and actors. Today, its arteries flowing out of Tahrir square -- the heart of the 2011 uprising -- the neighborhood is home to new-age coworking spaces and galleries, side by side with century-old theatres and bars. Yet even as it withstands the hegemony of mall multiplexes, Zawya cannot escape Egypt's pervasive censorship laws. Like every cinema in Egypt, each film must pass through a state censors before screening. "Over time, you learn to predict what will slide and what won't," Shazli said. But even the censors' scissors have failed to cut off the stream of ambition among burgeoning filmmakers. "Around Zawya, there's a lot of talent -- in every corner," Shazli said. "But what I wonder is: are there as many opportunities as there is talent? That's the real issue we need to address." - AFP

'The Matrix is everywhere': Cinema bets on immersion
'The Matrix is everywhere': Cinema bets on immersion

Kuwait Times

time4 days ago

  • Kuwait Times

'The Matrix is everywhere': Cinema bets on immersion

In a Los Angeles theater, a trench coat-wearing Neo bends backwards to dodge bullets that spiral over the viewer's head, as the sound of gunfire erupts from everywhere. This new immersive experience is designed to be a red pill moment that will get film fans off their couches at a time when the movie industry is desperate to bring back audiences. Cosm, which has venues in Los Angeles and Dallas, is launching its dome-style screen and 3D sets in June with a "shared reality" version of "The Matrix," the cult 1999 film starring Keanu Reeves as a man who suddenly learns his world is a fiction. "We believe the future will be more immersive and more experiential," said Cosm president Jeb Terry at a recent preview screening. "It's trying to create an additive, a new experience, ideally non-cannibalistic, so that the industry can continue to thrive across all formats." Cinema audiences were already dwindling when the COVID-19 pandemic broke out, shuttering theaters at a time when streaming was exploding. With ever bigger and better TVs available for the home, the challenge for theater owners is to offer something that movie buffs cannot get in their living room. Boxes of "The Matrix" popcorn for guests are seen during the first shared reality screening of the movie "The Matrix" on an immersive dome screen inside Cosm Los Angeles at Hollywood Park in Inglewood, California. - AFP photos Computer code surrounds viewers during the first shared reality screening of the movie "The Matrix". The character Neo appears on screen with an extended display of the power plant towers during the first shared reality screening of the movie "The Matrix". Attendees watch the character Morpheus appear on screen during the first shared reality screening of the movie "The Matrix". Attendees watch the character Morpheus appear on screen during the first shared reality screening of the movie "The Matrix". Attendees watch the first shared reality screening of the movie "The Matrix". Prestige projects like Tom Cruise's "Mission: Impossible -- The Final Reckoning" or Christopher Nolan's Oscar-winning "Oppenheimer" increasingly opt for the huge screens and superior film quality of IMAX. But Cosm and other projects like it want to go one step further, collaborating with designers who have worked with Cirque du Soleil to create an environment in which the viewer feels like they are inside the film. For filmmakers, it's all about how you place the cameras and where you capture the sound, said Jay Rinsky, founder of Little Cinema, a creative studio specializing in immersive experiences. "We create sets like the Parisian opera, let the movie be the singer, follow the tone, highlight the emotions... through light, through production design, through 3D environments," he said. The approach, he said, felt particularly well suited to "The Matrix," which he called "a masterpiece of cinema, but done as a rectangle." Attendees watch the first shared reality screening of the movie "The Matrix". The character Morpheus appears on screen during the first shared reality screening of the movie "The Matrix". Attendees watch the character Morpheus appear on screen surrounded by computer code during the first shared reality screening of the movie "The Matrix". Attendees watch immersive computer code appear during the first shared reality screening of the movie "The Matrix". Attendees watch immersive computer code appear during the first shared reality screening of the movie "The Matrix". Jeb Terry, President and CEO of Cosm, looks up at the dome while speaking after the first shared reality screening of the movie "The Matrix". For the uninitiated: Reeves's Neo is a computer hacker who starts poking around in a life that doesn't quite seem to fit. A mysterious Laurence Fishburne offers him a blue pill that will leave him where he is, or a red pill that will show him he is a slave whose body is being farmed by AI machines while his conscious lives in a computer simulation. There follows much gunfire, lots of martial arts and some mysticism, along with a romance between Neo and Trinity, played by the leather-clad Carrie-Anne Moss. "The Matrix" in shared reality kicks off with a choice of cocktails -- blue or red, of course -- which are consumed as the audience sits surrounded by high-definition screens. Shifting perspectives place the viewer inside Neo's office cubicle, or seemingly in peril. "They're sometimes inside the character's head," said Rinsky. "The world changes as you look up and down for trucks coming at you." The result impressed those who were at the preview screening. "It just did feel like an experience," influencer Vince Rossi told AFP. "It felt like you're at a theme park for a movie almost."—AFP

Swiatek and Sabalenka set up French Open clash
Swiatek and Sabalenka set up French Open clash

Kuwait Times

time4 days ago

  • Kuwait Times

Swiatek and Sabalenka set up French Open clash

PARIS: Three-time defending champion Iga Swiatek set up a blockbuster French Open semi-final clash with world number one Aryna Sabalenka on Tuesday. Swiatek, the fifth seed, got past 13th-seeded Ukrainian Elina Svitolina 6-1, 7-5 in Paris after top women's seed Sabalenka won a nervy quarter-final against Olympic champion Zheng Qinwen, 7-6 (7/3), 6-3. '(Aryna) has been having a great season so I'm not going to lie, it is going to be a tough match. But I'm happy for the challenge,' said Swiatek after reeling off her 26th win in a row at the French Open. Both players have shared the number one ranking between them since April 2022. Sabalenka ended Swiatek's 11-month reign as world number one last October but the Pole leads 8-4 in their previous meetings. World number five Swiatek has been struggling for her best form and has not reached a final since winning the French Open title last year. But she gave Svitolina little opportunity on her favored clay surface, breaking in the fourth game to ease through the first set. The pair exchanged consecutive breaks of serve early in the second set, before Swiatek forced the breakthrough at 5-5 with a powerful forehand down the line. She then sealed the win with back-to-back aces. Swiatek is aiming to become the first woman to win four straight Roland Garros crowns since Suzanne Lenglen 102 years ago. Zheng streak over Earlier, reigning US Open champion Sabalenka defied the windy conditions and Zheng to avenge her recent loss to the Chinese star in Rome. 'The last tournament I was pretty exhausted,' said Sabalenka. 'Today I was more fresh I was ready to battle.' Sabalenka once again got the upper hand on Zheng, who had been on a winning streak of 10 matches on the Paris clay after her run to Olympic gold last year. Zheng broke and led 4-2 in the first set. But numerous unforced errors - 31 in total - allowed the Belarusian to come back. The second set was also tight before Sabalenka broke back to lead 4-3, taking advantage of her opponent's errors. 'I gave her the chance, so easy,' said Zheng, who has lost seven times in eight meetings to Sabalenka, including in last year's Australian Open final. Madrid Open champion Sabalenka feels she is ready to go all the way in Paris, where her previous best performance was reaching the semi-finals two years ago. 'It's high-level matches. I'm super excited to go out there and to fight and to do everything I need to get the win,' said Sabalenka of her tie against Swiatek. — AFP

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store