Roger Waters, composer: "I would like, of course, to perform Ça Ira in France"
This month, after the surprise of
having reformed Pink Floyd, in London, at the Live 8 concert, the bass
player, author and composer Roger Waters releases Ça Ira, an opera in
three acts devoted to the French revolution. Ça Ira was inspired by a
manuscript created by his friends Nadine and Etienne Roda-Gil, who
passed away respectively in 1990 and 2004. The author of The Wall talks
about this work of traditional inspiration and the reunion of a group
which once was believed to be irreconcilable.
When did your friendship with Etienne Roda-Gil begin?
We met at the end of the 1960s.
Etienne was a man of great intelligence, somebody extremely romantic,
and also gifted with a great pragmatism. The history of our fathers had
undoubtedly brought us closer. His had taken part in the Spanish War
before fleeing the pro-Franco mode; mine, left-wing, fought and
perished during the Second World War. Etienne was a merry companion who
adored to smoke, to drink, to speak. All these things are very
attractive to this Englishman!
How was this project created as an opera?
Etienne and Nadine came to
England with a handwritten manuscript of around fifty pages,
magnificently illustrated. They asked me to put it in music. I promised
them that I would do it.
Did the topic of the French revolution interest you?
In 1789, the French wrote the
Declaration of the rights of man, a text of a universal range. I
believe that something of that survived in the French culture and the
republic. If the Declaration of American Independence also contained
this dimension, the Americans then tended to put it aside, particularly
under the Bush administration. They have already neglected to guarantee
the humans right to certain categories of their population. The rest of
the world is of little importance to them [the Americans].
Why have you chosen the style of the traditional opera rather than rock'n'roll, as you had done in The Wall?
I impassioned myself, these last
few years, with music from the beginning of the 19th century. I adore
Berlioz particularly. Prokofiev and Fauré also influenced me. When a
critic recently called the opening of my opera too Brahmsien, I took it
as a compliment.
You recorded versions in French and in English of Ça Ira; why?
With the death of Nadine, the
project stopped for six years. When I started again, Sony asked me to
translate it into English. I initially refused, then I launched into
it. That was undoubtedly the most difficult part of this work. I then
understood that I needed more than narrative. I started to write
prologues, to add two or three things, then to write new scenes. Very
anxious, I asked Etienne what he thought, and he said: "Roger, it is
better in English than in French."
Will you play this opera soon?
We will give two concerts in Rome
in November, with a large orchestra, and a large chorus, including
children and soloists. I hope that one day an eccentric billionaire
will want to invest money in the production of the spectacle. I would
like of course to show Ça Ira in France. I wrote to Gerard Mortier
about it when he took over the running of the Bastille Opera, but it
must have seemed risky to put on the work of a pop musician! The Paris
Town Hall had, at one point, suggested that we play Ça Ira in the
Tuileries. The significance is that this work is finally finished, in
rememberance of my friends.
July 2, in Hyde Park, you reformed Pink Floyd for the Live 8 concert. What did you feel on stage?
It was fantastic. It was so easy
to find our respective places and to play these old pieces. Dave
Gilmour and I have thrown our toys out the pram over the last twenty
years [due to their lawsuits]. I've now matured, I am beyond that
today, and I believe that of [David] too.
Can this meeting lead to other projects?
There is, for the moment, no
project. Everyone took pleasure with this concert. Even though we have
not spoken about it together yet, I have the impression that if a
similar opportunity arises, if it has a political vocation,
philosophical or charitable aspect which is appropriate to us, we could
find themselves playing other songs; why not perform The Dark Side of
the Moon? It would not only be possible, but tempting.
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