5 musical scenes for actor, percussionist and baritone. Text fragments by Augusto de Campos, Hilda Hilst, Goethe and brazilian newspapers. [ca. 10’00]
In a quasi Faust-Mephisto relationship, the baritone and the actor get into musical friction: singing versus spoken word, pitch versus noise, etc. The singer hums to himself a lied by Schumann at a certain passage, without lyrics; as if remembering a tune. Later in the same piece, the actor goes to one side of the stage and puts on an old LP — preferably, as I indicate on the score, the opening of Verdi’s Traviatta. The singer seems to be in an almost surreal trance triggered by the Old, not only the old music, but also the old and warm scratch noises from the vinyl. Pérolas e Porcarias, by the way, was also based on a poem, this time by Brazilian concrete poet Augusto de Campos. The poem is called “Pérolas para cummings” [perls for cummings].
Ruviaro, Bruno, "Pérolas e Porcarias" (2001). Music. Paper 5.