Sirene Operntheater | Christof Dienz
Die Puppe
1. Nov. 2024 // 18:00
2.-7. Nov. 2024 // 20:00
Wien Modern, REAKTOR
François-Pierre Descamps, conductor
Anna Clare Hauf, voice
Serapions Ensemble
Elvis Alieva,
Ana Grigalashvili,
Zsuzsanna Enikö Iszlay,
Julio Cesar Manfugas Foster,
Selina Rosa Nowak (guest
PHACE
Doris Nicoletti, flute
Reinhold Brunner, clarinet
Yukiko Krenn, saxophone
Stefan Obmann, trombone
Maria Chlebus, percussion
Iosua Dascal, percussion
Mathilde Hoursiangou, piano
Anna Lindenbaum, violin
Sophia Giodinger-Koch, viola
Roland Schueler, cello
Alexandra Dienz, double bass
Christof Dienz, composition
Kristine Tornquist, directror
Marlen Duken, props
Michael Liszt, stage
Jakob Scheid, music automatons & robots
Roman Spiess, Markus Liszt, puppets
Jan Maria Lukas, lights & technics
Germano Milite, sound & video
Jury Everhartz, production
Christof Dienz
Die Puppe. Ein Operoid (2024, UA)
Production sirene Operntheater | cooperation Wien Modern
The artificial human – the doll, the figure, the android – reveals three dreams of humanity: creative power, perfection, immortality.
Since the Stone Age, the likenesses have accompanied their creators and served them as companions, slaves and gods to overcome the inadequacies of organic existence. The dolls of antiquity are animated by imagination, their aura and power lie in the imagination of the doll creators and the viewers. Just two points in a circle are enough to create the illusion of a face, a simply carved piece of wood already marks a figure. Doll creators of the Enlightenment, on the other hand, use complicated mechanics as a drive to obtain a tireless, obedient and deceptively real improvement on the purely natural model. Following the legend of the sculptor Pygmalion, the aim is to fertilize the lifeless artefacts with the spark of life. Where reality and appearance come so close together, the dolls appear alive, but the person himself seems like an automaton. We are puppets, pulled on a wire by unknown forces, Büchner was horrified, nothing, nothing is ourselves.
The Japanese roboticist Masahiro Mori coined the term Uncanny Valley in the 1970s: Since then, the fascination has been accompanied by a shudder when the artificial approaches the natural – to the point where a perfect android is considered equal and believed to be alive.
Not only human bodies, but also their voices, their senses and ultimately even their minds are to be artificially recreated. In the data centers of AI projects, the imitative drive is running at full electronic speed. The self-deception succeeds – almost! The technical homunculi are still a long way from the complexity of organic life, no AI has yet passed the Turing test, but the goal is clear: the artificial doppelgangers should not only ape their creators, but be intellectually equal to them, even superior to them – independent creatures, a role model to the role models.
In the dark, however, a scarecrow and a little imagination are still enough to give the material a spirit.
Christof Dienz’s music for the eleven musicians of the PHACE ensemble, Anna Hauf as a wordless voice and the automatic drummer by Jakob Scheid reflects the strangeness in the similarity. Kristine Tornquist and the eight actors of the Serapions Theater illuminate the mysterious relationship between people and their puppets in a silent sequence of scenes.
MANOS TSANGARIS: ARNOLD ELEVATORS 3
Schönes Wetter in Gmunden
19.-21. Nov, 2024 // ab 18:50
Wien Modern
Musikverein, Brahms-Saal
Visit in small groups,
detailed times:
Hyun-Jung Berger, violoncello
Paula Jeckstadt, Mathilde 1 (soprano)
Annette Schönmüller, Mathilde 2 (mezzosoprano)
May Garzon, Elsa Bienenfeld (actor)
Rupert Lehofer, Arnold 2 (actor)
Valentin Postlmayer, Arnold 1 (actor)
PHACE
Doris Nicoletti, flute
Reinhold Brunner, clarinet
Michael Krenn, saxophone
Spiros Laskaridis, trumpet
Stefan Obmann, trombone
Igor Gross, percussion
Maria Chlebus, percussion
Mathilde Hoursiangou, piano & keyboard
Ivana Pristasova Zaugg, violin
Petra Ackermann, viola
Roland Schueler, cello
Maximilian Ölz, double bass
Georg Klüver-Pfandtner, costumes
Martin Laumann, sound
Ulli Napp, technical director
Bernhard Günther, dramaturgy
Markus Oppenländer, technics littlebit
Eva Maria Müller, coordination littlebit
Manos Tsangaris, staging
Manos Tsangaris
Schönes Wetter in Gmunden. six public private performances (2023–2024 UA) – 60′
Comissioned by Wien Modern in the context of Schönberg 150
When Manos Tsangaris composes, not only sounds and words find new forms, but also spaces and audiences. The composer, percussionist, artist and poet, born in Düsseldorf in 1956 (incidentally, he has just been awarded the Mauricio Kagel Music Prize and elected President of the Berlin Academy of Arts), is summarizing his engagement with Arnold Schönberg in a large, new, and in a certain sense, walk-in group of works at Wien Modern.
Schönes Wetter in Gmunden (19th–21st November), a series of six “public private performances” at various locations in the Brahms Hall for nine listeners each, leads into one of the most dramatic and momentous episodes in Schönberg’s biography at the Musikverein.
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.
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
Canti di Prigionia
Wiener Festwochen 2023
24./25./26. Mai 2023
20:30
Jugendstiltheater am Steinhof
Ein Auftragswerk und eine Produktion von Wiener Festwochen Partner Provincija (Svetvinčenat) Residency Centar mladih Ribnjak (Zagreb), Zagrebačko kazalište mladih (Zagreb) Mit Unterstützung von Ministarstvo kulture i medija (Kroatien)
Konzept Matija Ferlin, Goran Ferčec
Regie, Choreografie, Kostüme Matija Ferlin
Dramaturgie, Text Goran Ferčec
Mit Musik von Luigi Dallapiccola
Cantando Admont
Sopran Elina Viluma-Helling, Friederike Kühl,
Mara Maria Möritz, Anna Piroli
Mezzosopran Cosima Büsing, Elisabeth Irvine
Alt Cornelia Sonnleithner, Justina Vaitkute
Tenor Bernd Lambauer, Martin Mairinger,
Hugo Paulsson-Stove, Angelo Testori
Bass Matias Bocchio, Christoph Brunner,
Karl Söderström, Ulfried Staber
PHACE
Klavier Mathilde Hoursiangou, Jan Satler
Harfe Tina Zerdin, Marie Zimmer
Schlagwerk Maria Chlebus, Harry Demmer,
Igor Gross, Christian Pollheimer,
Hannes Schöggl, Berndt Thurner
Bühne Mauricio Ferlin
Regieassistenz Koraljka Begović
Kostümassistenz Desanka Janković
Mit Dušan Gojić, Rok Juričić, Lana Meniga,
Tanja Smoje, Dijana Vidušin
Produktionsleitung Silvija Stipanov
The composer Luigi Dallapiccola was born in 1904 in Istria. During World War I, he was interned in Graz along with his family and later went on to study piano in Florence and establish the twelve-tone technique of the Second Viennese School in Italy. Between 1938 and 1941, under the impact of Mussolini’s tyranny, he composed his three Songs from Captivity. Based on a prayer from Stefan Zweig’s Maria Stuart, an excerpt from The Consolation of Philosophy by Boethius and the psalm In Te Domine Speravi by Girolamo Savonarola, Dallapiccola created an atonal cry against fascism that transcends time.
In a collaboration with the vocal ensemble Cantando Admont, the ten musicians of PHACE and five actors, the Croatian choreographer Matija Ferlin and the dramaturge and writer Goran Ferčec present a stage production of the three songs as three scenic images. And, just as they did in 2021 with Sad Sam Matthäus, they are adopting and adapting a first-person autofiction approach to the plot and the narrative. An evening dedicated to the human need for freedom.
Luigi Dallapiccola
Canti di Prigionia für Chor, 2 Klaviere, 2 Harfen, 6 Schlagzeuger (1938-1941)
Preghiera di Maria Stuarda
O Domine Deus! speravi in Te.
O care mi Jesu! nunc libera me
In dura catena, in misera poena, desidero Te.
Languendo, gemendo et genu flectendo,
Adoro, imploro, ut liberes me.
Invocazione di Boezio
Felix qui potuit boni
fontem visere lucidum,
felix qui potuit gravis
terrae solvere vincula.
Congedo di Girolamo Savonarola
Premat mundus, insurgat hostes, nihil timeo
Quoniam in Te Domine speravi,
Quoniam Tu es spes mea,
Quoniam Tu altissimime posuisti refugium tuum.
music theatre
Red Rooms
02.Nov.2022 // 19:30 (wp)
4./5./6. Nov. 2022
Wien Modern / Schauspielhaus
Production i5haus with the kind support of Stadt Wien Kultur, BMKÖS, Sistema Nacional de Creadores de Arte (FONCA) Mexico, SKE der Austro Mechana | Co-production Wien Modern, PHACE, Musica Strasbourg, La Muse en Circuit, ORF Ö1 Kunstradio | Cooperation Schauspielhaus Wien
Angélica Castelló Idea, concept, composition, musical direction
Miguel Ángel Gaspar Concept, direction, movement
Ximena Escalante Dramaturgy
Ximena Escalante, Angélica Castelló, Miguel Ángel Gaspar Libretto
Bartholomaeus Wächter Stage design
Anna Hostek Costumes
Arnold “noid” Haberl Sound engineering
Oliver Mathias Kratochwill, Christoph Pichler in collaboration with Jan Machacek, Miguel Ángel Gaspar Lighting
Kira David, Valerie Holfeld Production management
Ariel Uziga Assistant director and choreographer
Theresa Dlouhy, Isabelle Duthoit Little Red Riding Hood (voice)
Romain Bischoff Wolf (voice)
Raphaela Danksagmüller, Thomas List, Maja Osojnik Grandmother (recorders, voice)
Jérôme Noetinger Other Wolf 1 (Revox, tapes, electronics)
Jan Machacek Other Wolf 2 (live video)
PHACE
Victor Lowrie viola
Roland Schueler violoncello
Maximilian Ölz double bass, electric bass
Reinhold Brunner bass clarinet
Alvaro Collao León saxophone
Stefan Obmann trombone
Berndt Thurner drums
Radio voices:
Wolfram Berger Salvador Novo
Hagnot Elischka Old Wolf
Christian Reiner Young Wolf
Martina Spitzer Grandmother
Sabine Marte Little Red Riding Hood
Natascha Gangl Tame Little Riding Hood
Miki Malör Forest
Elisabeth Findeis Neutral Voice
Red Rooms or seven episodes about a precarious relationship: Little Red Riding Hood and the Wolf inspired by Louise Bourgeois’ installation Red Room (Child) and Red Room (Parents).
A music theater about truth and lies, about lust and abuse, about love and power for voices, chamber ensemble, recorder trio, Revox tape machine, radios, cassette players and electronics in seven acts (2021-2022 premiere).
Color is stronger than language. It’s a subliminal communication.
Red is an affirmation at any cost — regardless of the dangers in fighting — of contradictions, of
aggressions. It symbolizes the intensity of the emotions involved.
(Louise Bourgeois)
On the stage are three cages and a family trapped in their own patterns — mother, son and granddaughter. They listen to the radio, talk, sing, drink, eat, sleep, kiss, fuck, puke, shit… The radio broadcasts interviews, news and commercials from Radio Roja, recognizable in German, English, French, Spanish. On stage on the other hand, a wild mixture of artificial language, onomatopoeia, noises, quotations from literature and diaries is produced with voices and other sound generators. The music speaks the language of Angélica Castelló: Dreamlike slowness and anti-virtuosity, minimalism and offbeat friction, the fearless misappropriation of early music (Gibbons, Ockeghem, Monteverdi), pop music and other objets trouvés. Quiet passages meet walls of noise, rock, drones, sine waves and low frequencies. And while the radio keeps playing, the Revox tape machine forms the gut through which everything passes, the intestines in which all incoming raw materials are devoured and transformed. (Speaking of food: Somewhere in the forest, deep in the subconscious of the Red Rooms, live the grandmother, Little Red Riding Hood and the wolf, in various incarnations.) The 15 musicians and soloists on stage, the dense network of electronics and field recordings conjure up external landscapes as well as intimate atmospheres of the rooms, making the emotional states of those present audible as well as the hopeless interpenetration and mixing of role models. The inner and outer spaces – whereby “inside” does not only stand for the psyche and “outside” not only for society or culture – open up existential experiences in different degrees of abstraction. In seven episodes, behavioral patterns of a familial, moral or erotic nature come to the surface. The stage is both a crime scene and a temple, a place of memories and events. The audience becomes the listening voyeur of a claustrophobic, immersive world full of innocence, danger, life, death, sex and eros.
Tickets
music theatre
Der Besuch vom kleinen Tod
based on „La visite de Petite Mort“ by Kitty Crowther, 2005, German translation by Maja von Vogel. Carlsen Verlag, Hamburg 2011
2.-6.11.2021 Vienna, Dschungel, Museumsplatz 1
Klaus Lang – music
Michael Scheidl – text & direction
Nora Scheidl – stage & costumes
with Rino Indiono & Jasmin Steffl &
PHACE
Sylvie Lacroix, Flöte
Doris Nicoletti, Flöte
Stefan Obmann, Posaune
Thomas Märzendorfer, Posaune
Georgios Lolas, Akkordeon
Berndt Thurner, Schlagwerk
Thomas Wally, Violine
Daniele Brekyte, Violine
Rafal Zalech, Viola
Roland Schueler, Cello
Maximilian Ölz, Kontrabass
Eine Produktion von netzzeit im Dschungel Wien.
Kompositionsauftrag von netzzeit, gefördert durch die Ernst von Siemens Musikstiftung
PROGRAMME
Der Besuch vom kleinen Tod
music theatre by Klaus Lang (music) & Michael Scheidl (direction, libretto)
…Little Death is desperate: The people he brings to the realm of the dead are sad. They sigh. They freeze. They are scared. No one ever speaks to him …Until the evening when Little Death visits Elisewin. “You are finally here!” she says with a smile … Elisewin is happy: Little Death takes away all her pain…
more infos & tickets – website of NETZZEIT: https://www.netzzeit.at/soon/der-besuch-vom-kleinen-tod/
music theatre
Der Fremde
06. / 07. / 08. / 09. Oktober 2020 // 20:30
F23 Kulturzentrum
Breitenfurter Str. 176, 1230 Wien
ARTISTS
Gerhard Winkler, music
Martin Horvarth, text
Kristine Tornquist, director
François-Pierre Descamps, conductor
with:
Romana Amerling. Bernd Fröhlich. Johanna Krokovay
Johannes Schwendinger. John Sweeney. Harald Wink
PHACE
Alessandro Baticci, flute
Reinhold Brunner, clarinet
Alvaro Collao Leon, saxophone
Spiros Laskaridis, trumpet
Stefan Obmann, trombone
Marwan Abado, oud
Georgios Lolas, accordion
Mathilde Hoursiangou, piano
Berndt Thurner, percussion
Ivana Pristasova, violin
Sophia Goidinger-Koch, violin
Petra Ackermann, viola
Roland Schueler, cello
Maximilian Ölz, double bass
production
Jury Everhartz
Sirene Operntheater
PROGRAM
Der Fremde / The Stranger
Text. Martin Horváth | Music. Gerhard E. Winkler
A stranger asks for shelter. The father of the family welcomes the stranger, invoking the law of neighborly love. The son is outraged because harboring a stranger is against the law. The mother is irritated by the foreign culture and, above all, does not like the fact that the stranger and the daughter get closer. Only the blind daughter sees the stranger with the eyes of the heart – compassionate and without prejudices.
in the frame of
Die Verbesserung der Welt – ein Kammeropernfestival in sieben Runden
1.9.-13.11.2020 / by Sirene Operntheater
music theatre
701 BRITISCHE TEELÖFFEL – VIVA LA MUERTE!
AUSTRIAN PREMIERE
Oct. 24. 2019
further performances: Oct. 26./31. & Nov. 01./02. 2019
OFF Theater Wien
Kirchengasse 41
1070 Wien
a production by netzzeit, in Coproduction with the Haydn Foundation
Creative Team
Arturo Fuentes, composition
Petra Weimer, direction
Ernst Kurt Weigel, Ilse Helbich, Lukas Meschik & Ensemble, text
Nora Scheidl, scenography
Florian Bach, sound design
Alexander Riff, assistent to director
Caroline Wiltschek, assistent to scenographer
Barbara Vanura, press
Actors
Kristina Bangert, May Garzon, Valentin Ivanov, Peter Raffalt, Jutta Schwarz, Tamara Stern
PHACE
Sylvie Lacroix, flute
Spiros Laskaridis, trumpet
Dying is distressing. Even in Vienna, where according to a folkloristic cliche, a very familiar handling with the ultimate concerns is cultivated, dying doesn`t fit into the concept of neoliberal performance society. The mexican incarnation of death, La Catrina, stirs up a Viennese wedding party, who don`t suspect that on their reputed best day of their life they are entering the last path. Santa Catarina leads and seduces the partying people to an excess, with different aspects of transcendences. Live music and sound clouds enable an ambiance for a narration out of monologues, dialogues, surreal images and tweets.
Tickets
Tickets: zu € 20.- (StudentInnen, SchülerInnen, Zivildiener: € 13.- / Ö1-Club-Mitglieder und Standard-AbonnentInnen € 17.-)
music theatre
HANNI
21.Apr.2023 // 19:30
Pfarrkirche Bad Zell
11.Nov.2022 //20:00
Tischlerei Melk Kulturwerkstatt
25.Jun.2021 // 19:30
Brucknerhaus, großer Saal
30.Jun.2021 // 19:30
Radiokulturhaus Wien
31.Jan.2021 // 19:30
Brucknerhaus, großer Saal
(cancellation due to Covid-19)
13.Feb.2021 // 19:30
Radiokulturhaus Wien
(cancellation due to Covid-19)
10.March 2020 // 19:30
Brucknerhaus, großer Saal
(cancellation due to Covid-19)
ARTISTS
Franzobel | Libretto
Gerald Resch | composition
Alexander Hauer | direction
Julia Klug | stage / costumes
Maxi Blaha | actress & voice
Wolfgang Kogert | organ
PHACE
Reinhold Brunner | Klarinette & Bassklarinette
Spiros Laskaridis | Trompete & Flügelhorn
Ursula Fatton | Harfe
Maximilian Ölz | Kontrabass
PROGRAMM
Hanni. Monologue with music (2018/19) (world premiere)
Gerald Resch
music for »Hanni. Monologue with music« for clarinet, trumpet, harp, double bass and organ (2018/19) (UA)
commissioned by Brucknerhaus Linz
The life of Hanni Rittenschober was marked by bitter hardship, poverty and deprivation. She was forced with her father to help build the barracks for the Gusen concentration camp. Later she saw what was going on inside and witnessed the “Mühlviertler Hasenjagd”. However, her courageous attempts to help the prisoners were not very promising. Her husband returned from captivity in 1947 completely changed. Since he drank and gambled away everything, Hanni had to fight alone to get her six children through life. The successful Austrian author Franzobel has turned this real biography into a monodrama for the prominent actress Maxi Blaha, Gerald Resch from Linz has written the music. The premiere of Hanni, actually planned to the day on the 99th birthday of the ‘title heroine’, unfortunately became an obituary due to postponements. The play shows the big history from the perspective of ordinary people, whose unshakable strength and courage to face life are exemplary.
music theatre
Wechselwirkung
public performances cancelled due to Covid19
13.Nov. 2020 // 19:00
14.15.Nov. 2020 // 17:00
Wien Modern
WUK Projektraum
Währinger Straße 59, 1090 Wien
a project by Pia Palme, Paola Bianchi, Juliet Fraser, Irene Lehmann, Christina Lessiak −
an artistic research collaboration group as part of the Austrian Science Fund
PEEK Project »On the fragility of sounds« [AR 537]
Lars Mlekusch – conductor
Pia Palme – concept, composition, text, bass recorder
Juliet Fraser − voice (soprano), dance
Paola Bianchi − choreography, dance
Molly McDolan − oboe da caccia
Sonja Leipold – harpsichord
PHACE
Christina Bauer – sound design, recording
Christina Lessiak − artistic assistant, research, production
Irene Lehmann − dramaturgy
Veronika Mayerböck – light
Christian Sundl – event assistant
For the video & trailer
Martin Siewert – sound editing
Michaela Schwentner – film direction and concept, editing
Martin Putz – camera
Funded by the FWF Austrian Science Fund
The project is hosted by the KUG University of Music and Performing Arts Graz, Centre for Gender Studies
Produced in cooperation with Wien Modern 2020
The performances will be carried out at the announced time in an adapted form as part of the research project of the Art University Graz. The filmmaker Michaela Schwentner will film the performances. The film will be made publicly available free of charge at www.wienmodern.at at the earliest possible point in time; the release date will be announced as soon as possible.
PROGRAM
Pia Palme
Wechselwirkung
music theatre for soprano and ensemble (2019/20) world premiere 70’
Combining the distinctive creative process of choreographer Paola Bianchi with the compositional practice of Pia Palme, the piece is being devised in an experimental, non-hierarchical, collaborative way, using both devised material and improvisation. The question of transmission between disciplines is woven into the process, embracing the particularities of each individual. Soprano Juliet Fraser brings in her expertise as performer, bringing together Palme’s score with Bianchi’s oral instructions, giving feedback at every step during the process. The theatre scholar Dr. Irene Lehman and Christina Lessiak, musicologist and cultural worker, join the group and further enrich the collaborative practice and discourse. The results explore the consonance, dissonance and interferences between voice and body, a polyphony in which movement shapes music, sound shapes bodies.
The piece is an experiment, an experimental opera, a music theatre work in the widest sense. Pia Palme: ‘I began with some devised material which I knew would form only a starting point; the process is like walking into a room with a blindfold on.’
Paola Bianchi uses her archive of postures to work from: ‘I have been using my archive of postures (or non-postures, collective images), which I am interested to share with others to see how they are transformed. These are my tools. It is like seeing how different ingredients fit together or can be destroyed.’
More information about the piece can be found under https://www.fragilityofsounds.org/wechselwirkung/
production of FWF PEEK project »On the fragility of Sounds« AR 537, supported by Kunstuniversität Graz
co-production Wien Modern
