Archive for the ‘Crime & Punishment’ Category


August 5, 2013

Crime & Punishment
Fyodor Dostoevsky
Parte 1
Capítulo 1

“…He had not far to go; he knew indeed how many steps it was from the gate of his lodging house: exactly seven hundred and thirty. He had counted them once when he had been lost in dreams. At the time he had put no faith in those dreams and was only tantalising himself by their hideous but daring recklessness. “

730 por Carlos Angulo

“730” por Carlos Angulo

730 is part of La Uña, el Martillo y los Pensamientos Imposibles


October 6, 2011
Centro cultural BOD-Corp Banca
Caracas, Venezuela

Piano: Gerry Weil y Xavier Losada

Production: Proyecta Comunicación
Recording Engineer: Marcel Fernández
Video: Raúl Colmenares
Audio engineer: Eder Soto
Stage Manager: Tyrone Vera
Stage Lighting: Tirso Machado
Scenery: Soluciones Arquimad


Преступление и наказание
Федор Достоевский
Часть первая

“…Идти ему было немного; он даже знал,
сколько шагов от ворот его
дома: ровно семьсот тридцать.
Как-то раз он их сосчитал, когда
уж очень размечтался.
В то время он и сам еще не верил этим мечтам
своим и только раздражал себя их безобразною,
но соблазнительною дерзостью.”


Crime & Punishment

April 24, 2007

Based on Dostoevsky’s novel and under the direction of Juan Souki, this show was presented by Columbia Stages between March 7th and 10th 2007 in the theater of the Riverside Church, NYC

The Music

Composed between October 2006 and March 2007 initially for piano and Cello, then adapted for piano only.

In Crime and Punishment (C&P), like in the rest of my theater compositions, music is played live. This makes the actors and the public part of the score. It becomes richer show after show, maturing in each spectacle.

Every text and play raise a new challenge. This time I believe it was about writing in excess in order to diminish the need to compose at rehearsals (I only had one week) and creating textures that impelled the psychological atmosphere of the work In Love (a tragic etude) I began composing by playing with the piano strings with fingers and sticks to generate certain atmospheres. In Crime & Punishment I return to these elements now adding plastic woods and a loopstation.

I wrote the base of the main theme while in NYC during the presentation of Love at the Shapiro Theatre. Months later, when C&P became official, I started rereading the classic and began thinking about which instruments I should use. Cello and piano seemed ideal. I went back to what I wrote months before and completed it with the cello, now playing the main melody of the work. It sounded like this:

Listen clipC&P Main Theme.mp3

As I fell lost into the book I wrote ideas, emphasized emotions and translated them into the piano. At the beginning, as in the main theme, the ideas were always strong but soon they went calm, arriving to the second more important theme of the work, Sonya and Rodya’s theme. For sometime I had wanted to write a song of pitiful love, a love somehow always lost. Phrases like “It is necessary that every man have at least somewhere to go” were key in the theme (I consider it a key phrase in the whole novel). This is the way it went when I put it into the piano:

Listen clipSonia+Raskolnikov.mp3

Shortly before departing to NYC it became clear that we were not going to use the cello. The only theme that worried me was the main one. I would need at least one more hand to be able to do it on the piano.

Days later I would leave some ideas behind and reinforce others.

At the rehearsals I began using the loopstation instead of Listen clipdistortion and Listen clipdelay. The result was excellent. Now I can’t find a better way to represent that intense memory of childhood conveyed by taverns, horses, drunkards, and Rodya and his father. Every day I would record loops live onstage, building them little by little. Here is the first of them:

Listen clipIntense Memory.mp3

As with every incidental music, there are moments when the notes try to reach the surface and speak by themselves and there are others when they submerge behind the rest of the elements to maintain and increase the strength of the moment, like a great mass, without shades:

Listen clipAtm 1.mp3

Finally I adapted the main theme to three hands. Rodya would accompany me on it.

After one week of rehearsals, five shows and months of composition, the score finally seems to rest.

Listen clipCrime & Punishment (II).mp3

C&P Corcho

The Cast & Crew


Billy Fenderson as Rodion Romanovich Raskolnikov

Miguel Govea as Porfiry Petrovich

Melinda Helfrich as Sonya

Original novel by Dostoevsky


Concept and creation by Juan Souki

Original Score by Xavier Losada

Set Design by Jian Jung

Costume Design by Arnulfo Maldonado

Lighting Design by Lucrecia Briceño

Sound design by Marcelo Añez

Video Design by Daniel Roversi

Video Animation & Motion Graphics by Luber Mujica

Graphic Design by Carlos Angulo López

General Manager: Amy Wolf

Production Stage Manager: Heather Schings

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