One should consider this work as an opera scene in which the protagonist would talk with his own reflection in the mirror. It may be his own first name that he is chanting throughout the piece because his double challenges him. If not, I would suggest Ludka for a female, Ludwig for a male.
This short and very intimate piece plays on the different levels of reading of Sylvie Germain’s text and can be seen according to the 4 writing senses: litteral, allegorical, moral and anagogical. The former is being particularly underlined by the music.
The voice’s many expressive ressources are required here: melodic, spoken/sung, spoken (recited, chanted…), white voice, whisper…
The piece may be sung by a mezzo soprano with a transposition down. Crotals should therefore be transposed accordingly.
A woman (or a man) turns towards the window of the train compartment in which she (he) is traveling without any hope of return. She (he) sees the gaze of her (his) own reflection in the window. This gaze is both her (his) own and strangely similar to the one of that woman (man), glimpsed a few moments before during a previous stop in a small town.
In this gaze, as in the stranger’s one, there is the same somewhat painful gravity, the same expression of expectation and patience. She (he) doesn’t know whether it is herself (himself) or the other. She (he) doesn’t recognise herself (himself) on her own reflection’s flagrancy. She (he) stretches the hand towards the window and barely touches with the tip of the fingers the closed lips of her (his) reflection. The mouth then opens and starts to talk to her (him) in a mute and feeble voice.
soprano solo ou ténor
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