Festival Internacional de Musica de Canarias

Oct. 14, 2023
Espacio la Granja
Santa Cruz de Tenerife

Oct. 15, 2023
Teatro Guiniguada
Las Palmas de Gran Canaria

conductor
Nacho de Paz

PHACE
Doris Nicoletti, flute
Walter Seebacher, clarinet
Spiros Laskaridis, trumpet
Mathilde Hoursiangou, piano/keyb
Berndt Thurner, percussion
Samuel Toro Pérez, electric guitar
Jacobo Hernandez Enriquez, violin
Petra Ackermann, viola
Roland Schueler, cello
Maximilian Ölz, double bass

SOUND DESIGN
Alfred Reiter

Programm

Mirela Ivicevic
Case Black for 7 instruments & electronics, 2016  8’

José Luis Perdigón
ill-use III for bass flute, bass clarinet, piano, percussion, violin, cello and e-guitar, 2023 (wp)

Fausto Romitelli
Professor Bad Trip: Lesson I – III for ensemble and electronics, 1998-2000

Miameide

21./23./25./26./27./28./30. Sep. 2023
sirene Operntheater
Jugendstiltheater am Steinhof

ARTISTS
Julia Purgina, Musik
Kristine Tornquist, Text
Julia Libiseller, Trickfilm

Johanna Krokovay, Mia
Romana Amerling, Sachbearbeiterin
Ingrid Haselberger, Arbeitslose, Gärtnerin
Benjamin Boresch, Sachbearbeiterin,
Blumenhändlerin
Vladimir Cabak, Arbeitsloser, Gärtner
Johann Leutgeb, Sachbearbeiterin, Kunde

Vokalensemble Momentum Vocal Music
Ekaterina Krasko, Sopran
Elisabeth Kirchner, Mezzosopran
Aleksandar Jovanovic, Countertenor
Simon Erasimus, Tenor und Leitung
Benjamin Harasko, Bassbariton

Ensemble PHACE
Doris Nicoletti, Flöte
Reinhold Brunner, Klarinette
Dominik Fuss, Trompete
Stefan Obmann, Posaune
Berndt Thurner, Percussion
Maria Chlebus, Percussion
Tina Žerdin, Harfe
Mathilde Hoursiangou, Klavier/Celesta
Maria Mogas Gensana, Akkordeon
Thomas Wally, Violine
Jacobo Hernández Enríquez, Violine
Anna Lindenbaum, Viola
Barbara Riccabona, Violoncello
Stefanie Prenn, Violoncello
Manuel Schager, Violoncello
Michael Seifreid, Kontrabass

Antanina Kalechyts, Musikalische Leitung
Kristine Tornquist, Regie
Michael Liszt, Markus Liszt, Je Jesch, Bühne
Maria Mitterlehner, Kostüm
Klara Leschanz, Maske
Paul Eisemann, Licht
Germano Milite, Animation und
Videotechnik

Petra Giacalone, Korrepetition und
Studienleitung
Selina Umundum, Assistenz und Inspizienz
Anna Skrepek, Hospitanz und Übertitel

Zine Tornquist, Grafik
Barbara Vanura, PR und Presse
Barbara Palffy, Fotographie
Peter Landsmann, Paul Landsmann,
Filmmitschnitt
Martin Horváth, Produktionsleitung
Jury Everhartz, Produktion

Mia can understand the language of plants. But there is no use for this ability in the world. At the employment office, she is placed in jobs where plants are traded like objects. But she is no good either as a flower seller or in the large gardening business, wherever she goes, she always understands too much about the needs of the plants. When she realizes that there is no longer room in the human world for those who can hear, she flees into another existence. Even if we cannot hear them, the silent sisters are not mute. Their language is growth, their ceaseless unfolding, multiplying, branching and differentiating is their narrative of overcoming entropy.

An opera about plants. Plants are not opera characters. You can only approach them through metaphors. First of all, in the intuitive way in which music can represent a language of plants. Julia Purgina has written lively and fragile music that makes botanical structures and the fractal growth of plants tangible. The language of plants. Even the human voice, which is used without words for the plants, can represent something “outrageous”, non-human. In her stop motion film, Julia Libiseller shows the tireless and surreal movements of leaves, blossoms and roots in their eternal search for light and water.

More…

Miameide – opera in 8 scenes with a prologue
With text by Kristine Tornquist, music by Julia Purgina and stop motion film by Julia Libiseller

 A sirene-production in cooperation with PHACE and Momentum Vocal Music

Im Bett des Imaginariums

26.Jun.2023, 19:30
REAKTOR
Geblergasse 40, 1170 Wien

büro lunaire
Gina Mattiello, text, voice
Reinhold Schinwald, sound design, live electronics
Florian Kindlinger, Sound

PHACE
Ivana Pristašová Zaugg, violin
Petra Ackermann, viola
Roland Schueler, cello

Eine Produktion von büro lunaire in Kooperation mit PHACE und REAKTOR.

Program

Christoph Herndler
Abschreiben (2005) Streichtrio

Clara Iannotta
dead wasps in the jam jar (2014-2015) Violine

Reinhold Schinwald
empreintes III (UA, 2023) Streichtrio und Live-Elektronik

Franck Bedrossian
The Spider as an Artist (2014) Violoncello und Verstärkung

Klaus Lang
die ränder der welt (2005) Violine

Enno Poppe
Fingernagel (2009) Violine und Viola

Rebecca Saunders
hauch (2018) Violine

Gérman Toro Pérez
Rulfo / ecos II (2006) Streichtrio und Live-Elektronik

PHACE | ANIMAL SMILEYS

7.May.2024 // 19:30
Wiener Konzerthaus, Berio-Saal

PHACE Series 23/24 – N°3

PROGRAMM

Sarah Nemtsov
Sechs Zeichen for cello und (prepared) piano, 2010

Mikel Urquiza
Opus Latericium for flute, saxophone, clarinet and piano, 2018

Katharina Rosenberger
New piece(wp), 2023/24
Comissioned by PHACE

Victor Ibarra
New piece (wp), 2023/24
Commissioned by PHACE, funded by Sistema Nacional de Creadores de Arte (FONCA) Mexico

Jorge Sanchez-Chiong
Animal Smileys for string trio and electronics, 2022

Opus Latericium is inspired by a Roman adobe construction of the imperial period. Triangular bricks, united to a dotted, polished, hard and refractory surface: from the outside, the repetitive music of Mikel Urquiza destructively hammers in time-lapse the hard shell, exposes the ruin. What remains of the wall shows little resemblance to the beginning. Fractured and weathered, a scattered remnant. Sechs Zeichen by Sarah Nemtsov is also built on a deceptive foundation of instability. What seems static begins to take on a life of its own and change shape. Fragile sounds of longing, wrapped in a mysterious veil of sound, enter into an interplay with the insistent throbbing of sharp-edged sounds, rocking up to opposing poles that ultimately cancel each other out. In Animal Smileys, Jorge Sanchez-Chiong uses completely different tools to create music that is no less intense. Strange string sounds, dragged through the experimental laboratory of electronic effects, deformed, denatured, saturated. A rich sound experience that makes the ears gyrate on the experimental trance floor. Victor Ibarra’s compositions are usually characterized by a very precise handling of harmonies and tone structures and attention to rhythmic accents. In contrast, Katharina Rosenberger’s works question both musical production and reception habits from several angles. Both of them will probably contribute very different new works to the concert.

PHACE | TIEMPO SUSPENDIDO

20.Mrz.2024 // 19:30
Wiener Konzerthaus, Berio-Saal

PHACE Series 23/24 – N°2

PROGRAM

Raquel García-Tomás
Estudio Sonomecánico no. 1 – Tiempo Suspendido for ensemble, electronics and video, 2018

Lorenzo Troiani 
La voce delle conchiglie for amplified bass clarinet and electronics, 2022

Joanna Bailie
Dissolve or ensemble, electronics and video, 2020 (ÖEA)

Daniela Terranova
Rainbow Dust in the Sky for string trio, 2018 (ÖEA)

Clara Iannotta
Outer Space for bariton saxophone, percussion, electric guitar, object performer, film und electronics, 2018
Film by Peter Tscherkassky

A woman, on the run from her own reflection, pursued by invisible enemies, driven into an errant scenario of annihilation. A horror-like dance of faces and reflections that spills over the edges and takes possession of the space outside. With music by Clara Iannotta, Peter Tscherkassky’s short film Outer Space unfolds an almost overwhelming sensual effect. Music and film are closely intertwined in very different ways in Estudio Sonomecánico no. 1 – Tiempo Suspendido by Raquel García-Tomás. Less of a soundtrack or background to the images, García-Tomás allows cinematic gestures and movements to emerge anew in the music and approaches standstill and timelessness with humorous everyday images. Daniela Terranova takes the musical classic “Over the Rainbow”, burned into the collective memory by Judy Garland in the Wizard of Oz and a Hawaiian ukulele, as the starting point for Rainbow Dust in the Sky. Subtly pulverized and crushed to dust, the tracks of the song become nuanced, diluted echoes that, circling meditatively within themselves, suggest the ritualistic character of a lullaby. A constant, unstoppable flow is evident in Joanna Bailie’s Dissolve. In time-absorbing transitions, both the film and the sonic events alternate between concrete states and abstract moments, reality dissolves beyond recognition. Lorenzo Troiani goes into the inner world, playing in La Vita delle Conchiglie with the returning resonances and feedbacks in the body of instruments, creating a hidden and mysterious sound world, as if inside a conch shell.

PHACE | PROFESSOR BAD TRIP

9.Jan.2024 // 19:30
Wiener Konzerthaus, Berio-Saal

PHACE Series 23/24 – N°1

PROGRAMM

Alexander Kaiser
[ˈprɪz(ə)m] for six musicians, 2014 (rev. 2016)

Emre Sihan Kaleli
A Dark Light / A Black Sun  for ensemble and electronics, 2023 (wp)
Comissioned by PHACE

Fausto Romitelli
Professor Bad Trip: Lesson I – III for ensemble and electronics, 1998-2000

Inspired by the descriptions of the effects of mescaline in the works of Henri Michaux, Fausto Romitelli’s work is all about “the artificial, the distorted, the filtered.” Romitelli forges sound sculptures that materialize like surreal musical visions of the deformations, distortions and disfigurements in Francis Bacon’s paintings. Influenced by the distorted and “dirty” sounds of psychedelic rock music, Romitelli creates a unique music that unfolds waves of melodic fragments over seductively fragile harmonies and exalted embellishments and rushing glissandi, only to collapse again and again. Material is jolted, develops expressive metastases, like a virus-infested musical mutant that becomes a beautifully ghoulish monster and captivates. The music of Alexander Kaiser, who in [ˈprɪz(ə)m] takes on the promises of an ideal world through area-wide monitoring of communication in the Western hemisphere, has a similarly wild balance sheet. Musically, the piece can be understood as a transformation of energy, with diverse influences from jazz, punk and electronic music merging into a rhythmically pronounced soundscape. More than enough expressive energy can usually be found in the music of Emre Sihan Kaleli, who likes to work with intensities, impulsivity and changeability and will contribute a new work for the concert.