Triumph of spirit over matter

This opera, TRIUMPH OF SPIRIT OVER MATTER, with libretto by Johan Thielemans, was commissioned by Muziektheater Transparant in co-production with La Monnaie, Brussels, and De Singel, Antwerp. It was premiered in 2000 at the Luna Theatre in Brussels by the Prometheus Ensemble, conducted by Etienne Siebens. The cast consists of five voices (soprano, tenor, two baritones and bass) and an instrumental ensemble (flute, clarinet, trumpet, horn, trombone, piano, percussion, two violins, viola, cello and double bass). It is a through-composed opera consisting of 16 scenes that flow into each other via very short interludes. The music has enormous momentum; everything evolves very quickly. This is in contrast to the Eastern-inspired, meditative compositions that preceded it (including the Ragas). In this work, Wim Henderickx compiles compositional techniques, including serial techniques and modality, which he also used in some of his previous works. Various “Leitmotives” are a psychological representation of the characters' personalities. Synopsis of the story: Beck is an unsuccessful painter. He is starving. He has now thrown himself into a project: boxes as ruins. His beloved Elsie is determined to sell these works of art. To this end, she turns to an old lover, the director of a struggling gallery. He is unable to resist her advances and succumbs. Although he does not believe in the painter's work, he allows himself to be persuaded to work with Beck. The meeting between the director and the artist ends badly. The artist smashes a model for the new exhibition to smithereens. Elsie and Beck are back at square one. However, they have a contingency plan. Beck also excels at forging contemporary paintings. Elsie decides to sell them to the director. The director falls for it and experiences a brief triumph in the art world. But the forgeries are exposed. The director loses his authority. Beck has to go to prison. But suddenly he is famous. His boxes sell. And someone offers money for the forgeries. The final scene is an allegory. All the characters are searching for that elusive thing: beauty. Their concrete lives are tragic, ridiculous or selfish, yet they are paths to beauty. The opera ends with a celebration of beauty.