ORFEO & LWANDA Nairobi. The Soul in spiritual and transcultural traditions. VR Hybrid Opera - Trailer

This case study comes from Virtual Stage concept, a research started in 2020 during the pandemic and still ongoing. Thanks to a series of experimentations in different opera staging (L’Orfeo and Il Ritorno d’Ulisse in patria by Monteverdi, L’elisir d’amore by Donizetti, Don Giovanni and Le nozze di Figaro by Mozart) today it is possible to bring the first results of a new methodology of Hybrid staging and outline the next steps of this research in progress.
A further development of this approach is applied to the collaborative research activity, involving around 60 among researchers, artists, students, PhDs, in the context of the Horizon Europe Project CAPHE-Communities and Artistic Participation in Hybrid Environment.

The purpose is to build a transcultural bridge between the myth of Orpheus and African legends and traditions. Therefore this joint case study takes in account the most representative pieces of Monteverdi’s opera “L’Orfeo”, one of the first form of “melodrama”, together with traditional Kenyan Music.

The program foresees intersections among singers, instrumentalists, dancers and video projections, avatar 2D, and focuses on the integration between Monteverdian harmonies and sounds of Kenyan musical traditions. The performance tells the stories of two heroes, archetypal figures of Western and African myths, Orfeo and Lwanda Magere and it is structured in five pictures developing in a continuous flow where the dancers act as a “catalyst”, accompanying the two legends.

In the geographical area of Kenya and neighboring countries, animism and tribal ancient shamanic traditions coexist integrated with new forms of spirituality and they are well connected in the social and religious fabric. Despite the official religions, African animist beliefs persevere. Orpheus is the psychopomp and his archetype could be well connected to the animism tradition, as he makes the shaman travel between the physical and spiritual realms, becoming an intermediary between visible and invisible world as shamans do.

Orpheus makes the journey into the underworld which is a physical and virtual journey since by walking the streets of Hades at the same time he immerses himself in his own soul where pain resides which can be transformed into creative energy and new inspiration. So, in this case study, the singer who plays Orpheus represents the physical journey, while the video projection avatar 2D represents and reverberates the path within himself, in the world of emotions and images.

Thanks to VR technologies, this was the first VR hybrid Opera where, alongside physical performers, a VR performer, wearing HMD visor and HTC devices, acted live within the specially designed virtual environment, which was simultaneously projected onto a large immersive screen, interacting with the physical environment. Sampled sounds of original western baroque instruments and traditional African instruments are played by midi keyboards. Some physical instruments integrate the performance. Some partial prerecorded playbacks (chorus, brasses, percussions) interact with live musicians. The performance can be held in an unconventional venue.

The dancers contribute to a deeper visual and expressive emotional path in a transcultural and continuous exchange with the different music genres.

Carla Zanin - concept, stage director, video, choreographer

Lwanda Magere the Great Warrior of the Luo

No Luo warrior has had a more profound effect on the community than Lwanda Magere, son of the Sidho clan. His name means "fierce rock", or the rock that he builds and this shows how mighty this warrior once was.

Stories are told of his supernatural powers and stony skin. It is said that he was indestructible and that spears, arrows and maces simply bounced off his body. His uncanny ability to tear apart entire armies is still celebrated today. The Nandi were the traditional enemies of the Luo and were extremely good at fighting especially at night.

On the other hand, Lwanda Magere and her tribesmen fought better during the day. While the people fought, Lwanda was seen at home smoking tobacco, but if he felt that the Nandi were threatening his people, he demanded that the shield and spear be brought to him immediately.

The ensuing battles would result in Lwanda taking down so many Nandi Warriors at once that the rest would have no choice but to flee. The Nandi were so afraid of mighty Lwanda that whenever they heard that he too was on the battlefield, they all ran back to their lands.

Lwanda Magere sometimes even followed them into their homes and took their livestock, their most prized possessions. It finally reached a point where the Nandi gave up fighting Lwanda Magere as they didn't know what to do to defeat him. They left him alone, deciding that it was indeed God's miracle.

Lwanda's downfall, however, came in the form of his wife, Nandi. The Nandi had given him their most beautiful girl to appease him and make him leave their cattle alone.

It so happened that one day Lwanda fell ill and his first wife was not there to take care of him. He chose to call his wife Nandi to bring him medicine. He instructed his wife Nandi to cut her shadow with a knife to administer her medicine. Can you imagine her shock when she saw the shadow bleed!

That same night, cunning wife Nandi sneaked back to her people and told them the secret of Lwanda and they attacked the same night using the element of surprise. Caught unprepared, Lwanda and the Luos fought bravely and defeated the Nandi.

It was nearly dawn when the cowardly attackers retreated in defeat. And then a Nandi warrior remembered that Lwanda's shadow was bleeding. He stopped at the top of a hill and speared the emerging shadow of Lwanda. Alas!

Suddenly, strong winds blew over the land of the Nandi and Kano, the land of the Lwanda people. And then, two years of drought followed the death of Lwanda Magere. Lwanda appeared to the Luo elders in a dream and told them where he had died.

To this day, the place where he died is revered and people come from all over the world to conduct rituals and prayers on the stone. Even today the story of Lwanda Magere is handed down from generation to generation.

Priscilla Gitonga - Kenyan music program, coreographer

PROGRAM

First Picture 

Claudio Monteverdi L’Orfeo ATTO I
Rosa del ciel Orfeo Tenor, Continuo, Dance
In this aria Orfeo is referring to the god of the sun and light (Apollo who is also his father) and tells about his joy and gratitude to be in love with his beloved Euridice. He remembers the first time he saw Euridice and they exchange the promise of love. So, this aria celebrates the love between humans and also the love between humans and gods.

Vieni Imeneo Chorus, DanceThis chorus is an invocation to all nymphs e shepherds to come and celebrate with dances and songs the upcoming marriage between Orfeo and Euridice, and this is also an invocation to the god of marriage (Imeneo) to bless the spouses. It is a bucolic context and the scene takes place in the nature where also the stars, the sun and moon are dancing for such a nice day.

 Elijah Adongo Lwanda Magere
Grandmother
the Grandmother warns Lwanda of the woman he has fallen in love with, appearance hides her cynicism.

Second Picture

Claudio Monteverdi L’Orfeo ATTO II

Tu se’ morta Orfeo Tenor, Continuo
In this aria Orfeo learns that Euridice is died, due to snake bite. He is shocked by this terrible news and sings a lament song; at the same time he decides to descend to the Kingdom of Shadows (Souls) and try to soften the heart of the King of Shadows (Orfeo is a musician and a singer, so he wants to use his music to soften the heart of the King) in order to bring back Euridice.

Ahi! Caso acerbo Chorus, Dance
This chorus reverberates the lament of Orfeo

Kenyan Dance

Third Picture

Claudio Monteverdi L’Orfeo ATTO III 

Possente spirto Orfeo Tenor, Continuo, Dance
Orfeo sings a hypnotic and heartfelt prayer to convince the guardian of the Shadows Kingdom to let him in. The guardian is so sweetened by this song that he falls asleep.

Nulla impresa Chorus, Dance
This chorus celebrates the great and impressive feat of Orfeo who was able to enter the underworld.  

Misawa contrafactum of Vaida traditional Kenyan song
in this song Lwanda's call is affirmed not only for physical duels and hatred of violence

Fourth Picture

Claudio Monteverdi L’Orfeo ATTO IV 

Qual honor di te sia degno Orfeo Tenor, Continuo
Orfeo is incredible joyful because thanks to his powerful lyre and his singing, he was able to win the Kingdom of shadows and he’s walking ahead to Euridice, as he promised to the Shadows God that he will look at her only out of the Kingdom. But he broke his promise, as he doubted and momentarily lost faith along the way: suddenly he decides to have a look to her and she disappears, coming back to the Shadows Kingdom.

E’ la virtute un raggio Chorus, Dance
This chorus reverberates the previous scene

Kenyan Reloaded

Fifth Picture

Claudio Monteverdi L’Orfeo ATTO V

Vanne Orfeo Chorus, Dance
This is the final chorus, where Apollo (the God of the Sun and Orfeo’s father) appears and invites Orfeo to join him in heaven, where he will be able to see his beloved Euridice again, shining in the stars.

Be isewinjio contrafactum of Dudu traditional Kenyan song
this chant celebrates Lwanda and its essence and relationship with the unseen world