Martin Butler and Brandt Brauer Frick developed an abstract narrative that sees the cross-section of opera, modern dance, electronic music and fashion. The death of Gianni Versace is at the epicentre, portrayed through the decadent style of 1980s vogueing culture.
The themes are desire and adoration, the promise of youth and beauty, the trappings of power and riches and auguries of unlimited sexual potency. Fashion can be defined as the presentation of the individual in an everyday setting, a presentation in which semblance merges with reality. It is also the international world of runways and supermodels. A designer will be hailed as the high priest of this world if he can promise to fulfil an existential expectation of happiness and do so in a way that appeals to the spirit of the times. Gianni Versace was one such high priest, yet there have been few other cases of star designers where such a meteoric rise has been followed by such an abrupt and tragic end. His path from Calabrian tailor and buyer of fabrics to fashion empire mogul ended with his murder by male prostitute and serial killer Andrew Cunanan outside Versace’s villa on Ocean Drive, Miami.
Director: Martin Butler
Music: Brandt Brauer Frick & Matthias Engler
Set & Video Design: Shan Blume
Costume Design: And Beyond
Dramaturge: Sebastian Hanusa
Choreographer: Susanne Marx
Pythia: Claron McFadden
Medusa/John: Alexander Geist
House Mother: Amber Vineyard
Andrew: Seth Carcio
Dancers & Extras: Alexander Mugler, Fredrik Quinones, Tarren Johnson
Boiler Room broadcast directed by Robert Sieg.
At dusk an old shabby woman scraps around a massive pile of junk, in which she has gathered all her possessions and memories. She lights a candle, is confused, and mumbles. She endlessly arranges and rearranges her rubbish. Gradually, from under all her junk a bed becomes visible. It is her deathbed upon which she lays down after some delay. Wearily moaning, groaning and faltering. She starts to sing. At first with some hesitation, but increasingly with more pathos and ardour she brings a glowing and moving farewell to life. Once her aria is completed, she blows out the candle and rises to heaven. From afar we continue to hear her sing softly.
In Uwe Leipe Mastdrammis there is no text, not in the sense of a coherent language. The woman has no command of the language (anymore). The language used is fictitious and merely focused on sound and expression, using the voice in every conceivable form. Uwe Leipe Mastdrammis presents a portrait of a soul in the transition from life to death.
The staging is by Jeroen De Man (De Warme Winkel) with whom NAP has collaborated before in Anais Nin from Louis Andriessen.
Composer: Rob Zuidam
Mezzo-soprano: Gerrie de Vries
Stage-director: Jeroen De Man
Set-design: Arjen de Leeuw
Introduction: Connie Palmen
Première: 19 mei 2016
Angel’s Bone is a new work of opera-theatre that follows the plight of two angels whose nostalgia for earthly delights has, mysteriously, brought them back to our world. They are found battered and bruised from their long journey by a man and his wife. Mr. and Mrs. X.E. set out to nurse the wounded angels back to health: they bathe them, wash the dirt from their nails…then lock them in a room and decide to exploit these magical beings for wealth and personal gains. Angel’s Bone melds chamber music, theatre, punk rock, opera, cabaret, and electronics, exploring the dark effects and motivations behind modern-day slavery and the trafficking industry.
Music by Du Yun
Libretto by Royce Vavrek
Music Direction by Julian Wachner
Directed by Michael McQuilken
Mrs. X.E. – Abigail Fischer
Mr. X.E. – Kyle Pfortmiller
Girl Angel – Jennifer Charles
Boy Angel – Kyle Bielfield
World Premiere January 6, 2016 @ 3LD Art & Technology Center, during the Prototype Festival 2016
Imagine getting in a car without knowing the destination. Sharing the car are singers, actors, and instrumentalists who draw you into a story. The car stops at an incredible site, where another chapter of the story commences – until another car pulls up, with different artists, depicting another chapter of the story.
And so on, and so on, in a 90-minute journey throughout the unsuspecting city.
An opera-requiem, IYOV is a story of the biblical character Job’s life, pride and disbelief. Named for the Hebrew word for Job, IYOV centers on the man’s search for life’s meaning through a synthesis of musical and theatrical techniques ranging from ancient Greek drama to baroque opera and more. Combining minimalism and the avant-garde, neoclassicism and rock, the music of IYOVfeatures polyphonic choral episodes and instrumental interludes that alternate with a full range of the human voice: everything from classical, jazz and folk singing to breathing, screaming, whispering and overtone singing. At the center of IYOV’s musical landscape is an exceptional piano that sonically transforms into a self-contained orchestra, echoing a harpsichord, drums, and even a synthesizer and other electronic instruments. An extraordinary Ukrainian opera, IYOV blends an emotional journey, the birth of a new sound, and the endless possibilities of the human voice.
Director Vladyslav Troitskyi
Conductor & Composer Roman Grygoriv
Composer Illia Razumeiko
Live Video Mixer Mariia Volkova
Lighting Designer Nataliya Perchyshena
Sound Engineer Caley Monahon-Ward
Actor Tetiana Troitska
Singer Mariana Holovko
Singer Ruslan Kirsh
Singer Andrii Koshman
Singer Hanna Marych
Singer Yevhen Rakhmanin
Singer Oleksandra Turyanska
Instrumentalist Zhanna Marchinska
Instrumentalist Andrii Nadolskyi
Instrumentalist Illia Razumeiko
IYOV was created in 2015 at the order of the festival of contemporary art, GogolFest. IYOV is made possible by the Trust for Mutual Understanding.
Show Run Time: 70 Minutes
Photo by Vasyl Osadchyi
Premiere: September 21, 2015, GogolFest
Modelo62 Ensemble led by the Spanish Jorge Lopez Garcia, with the support of Spanish Cultural Action AC / E, returns to Buenos Aires to stage a chamber opera The newly created Real Lemon in the prestigious Teatro Colon in Buenos Aires. A work in which the relationship of the musicians with the project is not merely the execution of the score but extends to the creative field, contributing to the gestation and development of sound material. Real Lemon is a chamber opera composed by Ezequiel Menalled, which stems from an order of CETC – Teatro Colon in Buenos Aires. The libretto of The Lemon Real Fernando Regueira, is based on the novel by Juan José Saer, of the same title.
VIOLA is a short opera installation in public space. The audience is sitting inside a pharmacy and looks through the shop windows, watching the train station square. There sings in monologue Viola, a confused and sad woman, disillusioned, lost. The voice of singer Martina Koppelstetter is transmitted through a wireless microphone onto transducers: devices which convert the big glass panes of the shop windows into loudspeakers, creating a sounding membrane between the inside and the outside. She sings mostly for herself, then she refers from time to time to (real or virtual) pedestrians, later also to the audience. Finally she disappears in anonymity again. Only loneliness remains.
“We established an ‘electrozone’ where various artistic endeavors will take place — music, fine arts, events involving contemporary literature, and an educational program. This is a space that will be openly accessible to the city. You can come here in the morning and grab a cup of coffee in our foyer. But it is not merely a place to spend your free time. It is a place where we want people to put an effort into contemplating contemporary culture.” says Boris Yukhananov, artistic director of the Stanislavsky Electrotheatre in Moscow.
The video above is a collaborative work under the leadership of Sergej Newski with Boris Filanovsky, Dmitri Kourliandski, Vladimir Rannev, Alexey Sysoev und Alexei Sioumak, that comprises in total five evening filling works. Based on a text by Boris Yukhananov who also directed the productions.
Ted Hearne’s piece The Source is an oratorio for four singers and a band of seven musicians.
The subject is Chelsea Manning, the US Army Private who infamously leaked hundreds of thousands of classified documents to WikiLeaks.
The text, culled and arranged by librettist Mark Doten, sets Manning’s words and sections of the classified material now known as the Iraq and Afghanistan War Logs.
The Source was premiered at the BAM Next Wave Festival in a Beth Morrison Production directed by Daniel Fish.
In Coup Fatal the Congolese countertenor Serge Kakudji and 12 musicians from Kinshasa engage with the baroque repertoire. A new and contemporary universe is created around the vocals, both visually and in music: exuberant and organic and yet full of contradictions.
The music is by the Brussels composer Fabrizio Cassol and guitarist Rodriguez Vangama; the director is Alain Platel, assisted by the dancer Romain Guion (C(H)ŒURS) and the overall setting, a curtain of empty cartridges, is by Freddy Tsimba. And let us not forget the costumes! The baroque Coup Fatal is given the unadulterated brilliance of the perky « sapeurs », the dandies of Kinshasa. Rather than a tribute to baroque music, Coup Fatal is an ode to the inexorable elegance and vitality of the Congolese.
Read more about the genesis of this project.