Alain Thibault, music | René-Daniel Dubois, libretto | Joseph Saint-Gelais, stage direction, stage design | Claude Cournoyer, lighting | Jacques-Lee Pelletier, make-up | Anita Pantin, costumes | Réjean Goderre, hairstyling
Pauline Vaillancourt, soprano
Sept. 19, 1991, Théâtre La Licorne, Montreal, world premiere
Sept. 20, 21, 24, 25, 26, 27, 28, Oct. 1, 2, 3, 4, 5, 8, 9. 10, 11, 12, 15, 16, 17, 18, 19, 1991, Théâtre La Licorne, Montreal
Ne blâmez jamais les bédouins est la première manifestation de Chants Libres, compagnie lyrique de création que vient de lancer Pauline Vaillancourt. Je crois qu’il s’agit de débuts très prometteurs.
– Claude Gingras, La Presse (Canada), September 20, 1991
In the middle of the Great Australian Desert, a hideous myopic monster named Flip, approaches a young Italian opera singer, Michaëla, who is tied to railroad tracks at the foot of a high cliff. On a ledge of the aforementioned cliff, a young Teuton, name Weulf, watches the scene in desperation.
From each end of the railroad tracks, we hear the radio traffic from two teams of military conveys led by Father Christmas and Stalin. They are charging towards each other as part of the Goliath and Goliath operation. Father Christmas becomes insane and his brigade of helicopters, the South Belvedere Patrol, refuses to turn back as they are ordered to by their commander, the Green Goblin, who has learned about the presence of Flip and Michaëla on the tracks, and decides to escort then with great pomp and ceremony to their victory.
Scorched by the relentless sun, Michaëla, Flip and Weulf become one single character, the Beast, who is then attacked by the trains and the helicopters.