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    The opera Samaritans explores one of the most unique & ancient cultural realities of the Mediterranean : the heritage of the Samaritan population… Read More
    The opera Samaritans explores one of the most unique & ancient cultural realities of the Mediterranean : the heritage of the Samaritan population. Commissioned by one of Italy's major music festivals, Mito SettembreMusica and Premiered in September 2010. Read Less
    Published:
Samaritans
opera by Yuval Avital
World première: Milan, September 21st, 2010, Teatro Nuovo
Commission by MITO SettembreMusica Festival
Co-production of Magà Global Arts Around The World
In collaboration with LEAV - Ethnomusicology and Visual Anthropology Laboratory, University of Milan.

The aim of the multimedia composition Samaritans is to create a bridge between the musical and ritual tradition of one of the most ancient peoples of the Mediterranean and contemporary music. Thus, it tells us a story of great antiquity and modernity, of hope and fear, of fantasy and everyday-life of the Samaritan people.  

Yuval Avital, following his personal creative journey, explores emotions, archetypes and universal structures by revisiting an ancient culture. Combining in this opera a Samaritan choir of selected soloists from within the samaritan community , an ensemble of contemporary music soloists, live electronics, video, stage design and theatre, he shares with us the collective past of the Samaritans; their individual present, and the sacred and mystical dimension of this unique culture.

Samaritans strive to create a multiple path, which unifies sonic and visual languages of the traditions and some musical innovations of our time. It forms a new and fresh avant-guard concept by integrating the representation of an indigenous culture, multimedia elements and music, both ancient and contemporary. It presents an almost surreal tension between the opposite poles of antiquity and the present, the vocal and the instrumental, the traditional and the experimental.

The opera moves between different levels. The first level involves an introspective, intimate journey of the artist that reflects an almost autobiographical path where his poetic point of view leads the audience to the inner reality of the Samaritans.

The second level focuses on the “protagonists” of the opera, the main figures of the Samaritan identity and its metaphysical beliefs ) for example about  the Mount of Gerizim and the figure of Moses( narrated often in a form of crossed episodes.

The other two levels are the allegorical, in which the sonic and visual representations explore the fundamental symbols of this culture, and the purely musical ones, where the sound of contemporary musical languages meet the sound of the ancient Samaritan chant in a dialectic relationship. Eventually, there is a synthesis of a “new” Samaritan music in which the ancient elements are used as bricks to create new expressive codes.