-I’ve worked with Esperanto before.
IVAN ACHER, composer It is a very melodious language.
Esperanto can substitute the greatness
of bel canto expression and it allowed us to parody 19th Century opera,
which was our intention. On the other hand, we didn’t want
to ridicule anything, it’s just the traditional
approach Klíma used: a journey from low to high forms, a search of beauty,
in all its spectra. Esperanto proved to work well,
with one exception. It’s extremely difficult for the actors
who have never spoken it before, to learn an hour and a half
of opera in Esperanto. With our five actors, some of them
never leaving the stage, it is almost an hour long
continuous singing in Esperanto. That’s the only little flaw
on Esperanto’s beauty. Otherwise it’s a great language, freeing brain of the informativeness
burden in opera language, letting everything flow
freely, in music alone. You either learn all important yourself
or, if you are not good at adjusting your detectors
to the action on the stage, you can always use subtitles. Those respect the original
and nobody would miss anything. We always have a choice.