L’étranger, evidences the strangeness of Meursault within their social environment as a metaphor of the man in relationship with society. In a dialectical relationship with the world around, the opera faces a soloist against the ambiguous world around. In our work the outside world is represented by singers, instruments and objects.
As in the novel, in our opera, Meursault carries the action. The rest of the singers have exchangeable roles (each singer represents more than one character): Maria, Celeste, Salamano and his dog, Raimundo, the lawyer, the judge, the journalist, etc. This exchange-ability of roles also represents the indeterminacy and fuzziness of the world around Meursault.
Silence is also a very important aspect in L’étranger, as a metaphor of apathy and strangeness. Our soundscape swings back and forth from an austere speechless character to polyphonic crowded scenes referring to the multitude of voices around (and inside) Meursault´s head.