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<< -- 5 -- David Wilkins MARIA OF HOPE OR DESPAIR?
In Act Two we have moved forward to 1998. A revived Argentina has a formal way of dealing with the past
but no emotional desire to do so. It could, as easily, be any post-Communist society in the East. Police
and security files are sometimes available, more often not. Most people want to forget what has happened
and get on. The mothers and the grandmothers of the 'Disappeared' are worn-down but stubborn. They protest
with placards, their tears are an unforgiving accusation.
There is a kind of historical and sexual nullity that overcomes the second part of this piece. Abulafia
makes much fun out of the psychoanalyst episode when the shade of Maria (and more-or-less everyone) is
deemed in need of therapy. Musically, it's very akin to something like the Officer Krupke song
from Bernstein's West Side Story. Piazzolla would, certainly, have known that. I wonder how much
Piazzolla Bernstein ever knew?
'Buenos Aires, Buenos Aires - Bring your dreams out into the sun!' Sebastian Soules (Payador and, here, the principle psychoanalyst) in 'Maria de Buenos Aires'. Photo © Robbie Jack
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As the mothers and grandmothers process around with their photographic banners, we rejoin the search
for Maria -- there may be three generations of them but the middle one is missing. There is some fantastic
music here. The Yo Soy Maria material is repeated in the song of the Tres Marionetas
(the Three Puppets) and, if the involvement of the band got the better of the singers' volume capacity
at this point, the sheer tightening of the screw was justification enough.
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Copyright © 16 May 2004
David Wilkins, Eastbourne UK
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