Lluís Homar defeats the Grand Inquisitor

BarcelonaAn interest in faith and spirituality has often accompanied the actor Lluís Homar, but for some time now it has also a way of understanding the professionThis passion found its perfect partner before the pandemic, when it coincided with the musician Emili Brugalla and together they performed the recital Soul and wordwhich fused the poetry of Saint John of the Cross with the work of Frederic Mompou. From this emerged a different way of understanding the stage, the text, and the music, which is now being replicated with other protagonists: the chapter "The Grand Inquisitor" ofThe Brothers Karamazov of Dostoevsky and the spiritual works of Bach and Messiaen. The result is a performance featuring Homar on spoken word and Brugalla on piano, accompanied by Vesko Stambolov, with whom he shares a duo. Straddling the line between concert and recital, the creators define this work as a sacramental act. Under the title Bach-Dostoevsky-MessiaenThe play premieres this Sunday at the Girona Auditorium as part of the Temporada Alta festival.

Considered a masterpiece of classical literature, this chapter recounts the encounter between a Grand Inquisitor and Jesus Christ in 16th-century Seville. The former has imprisoned the latter and offers a staunch defense of the Catholic Church, arguing that the townspeople don't know what to do with their freedom. "Dostoevsky makes a blatant denunciation of the Roman Catholic Church. From an Orthodox Christian perspective, he highlights what the Church has done with what Jesus Christ bequeathed to us," says Homar. He gives voice to the Inquisitor, who allies himself with the devil and confronts heavenly power, but Jesus remains silent. "On stage, heavenly power is represented by the works of Bach and Messiaen. The challenge will be seeing how the audience reacts to this combination of music and text," explains Brugalla.

Finding the balance between music and text

The piece's repertoire includes theAmen to creation and theAmen du désirby Messiaen, and Bach cantatas in versions for two pianos by György Kurtág. "These are very religious works, some originally conceived for organ. We thought it would be wonderful to be able to link them with the text, since it's music that's difficult to perform on its own," the pianist points out. The performers' main goal has been to find a balance between the two art forms. "We've tried to have 50% music and 50% text without them overlapping," Homar emphasizes, and Brugalla adds that "the materials communicate with each other without imposing theatricality or the protocol of a concert."

How will the public receive a text conceived and written in an era so far removed from the present? According to Brugalla, Dostoevsky's work has more similarities to the present than it first appears. "It speaks to the constants of human society and what happens between power and freedom. It says that people are made to believe they are free when they are not. The text resonates with ideas that remind us of current tyrants; there's no need to mention names," the musician points out. For all these reasons, Homar argues that hope and faith are good antidotes to the disenchantment of the modern world. "It's important that there are spaces of light," the actor says. "In the midst of insignificance, and with the help of great masters, this is our small contribution to trying to make everything better."