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.
Imagine arriving at a train station and discovering a man singing beautifully to himself. But what if he were singing to 150 people all over the station who were listening to him, seven other singers, and a live orchestra via state-of-the-art wireless headphones?
That’s the concept behind Invisible Cities, a new immersive opera experience produced by The Industry and LA Dance Project, with sound powered by Sennheiser. First performed in LA’s Union Station to international acclaim in 2013, this one-of-a-kind production became a cultural phenomenon, with 9 performances added by popular demand.
Based on Italo Calvino’s beloved novel and hauntingly set by composer Christopher Cerrone, Invisible Cities is a 70-minute meditation on urban life, memory, and human connection.
Director Yuval Sharon’s concept makes each audience member the protagonist of the experience in a transfigured view of everyday life. Choreographer Danielle Agami draws the audience into an uncannily intimate proximity to the LA Dance Project.
The opera by Lina Lapelytė focuses on the inner lives of cashiers in a shopping centre: showing what lies behind their mechanical “Good afternoon!“, “Thank you!“, “Have a good day!”, and fake smiles. Faceless, robot-like shop workers found in everyday life are transformed into unique and lively characters. Their secret thoughts and biographies are turned into short, personal dramas. The characters of different sales clerks, embodying universal archetypes, convey the predominant social landscape. The libretto is a revealing mosaic of spoken, literary language and documentary.
The atmosphere of the supermarket is established through the glimmering and buzzing installation of daylight lamps and environmental sounds, connecting the audience to the stage and the 10 cashiers. The set itself is very minimalistic. Real goods – the recognizable décor of a shopping center – exist only in acoustic and verbal form.
The monotonous beep of each item being scanned is a key sound through the whole opera. It gets louder and quieter, but it is always present. Songs that accompany the beeping are as monotonous as the process of shopping and selling. Instead of becoming the main point of the opera, music serves the thoughts of the cashiers – it facilitates their voice.
To avoid any moral or condemnatory suggestion, a critical attitude towards capitalism is expressed through humor, paradox, irony and poetry. The mosaic of different destinies is transformed into one poem suggesting the pleasure of consumption.
HAVE A GOOD DAY! / GEROS DIENOS!
Opera for 10 cashiers, supermarket sounds and piano
Work by Vaiva Grainytė, Lina Lapelytė, Rugilė Barzdžiukaitė
Produced by OPEROMANIJA
Librettist Vaiva Grainytė
Composer and music director Lina Lapelytė
Director and set designer Rugilė Barzdžiukaitė
Costume designer Daiva Samajauskaitė
Lighting designer Eugenijus Sabaliauskas
Sound director Arūnas Zujus
Cashiers: Lina Dambrauskaitė, Liucina Blaževič, Vida Valuckienė, Veronika Čičinskaitė-Golovanova, Lina Valionienė, Rima Šovienė, Milda Zapolskaitė, Rita Račiūnienė, Svetlana Bagdonaitė, Kristina Svolkinaitė
Security Guard: Kęstutis Pavalkis (piano)
Lina Lapelytė (live electronics)
Nikola is an opera specially created in 4DSOUND by composer Paul Oomen, inspired on the life and work of the genial inventor Nikola Tesla. The opera Nikola emerges from within the audience, where singers performing in the midst of the crowd. The theatre is turned into a nightclub hosting the opera as part of a night-long techno party.
A multimedia opera that combines live musical performance and original film, this compelling new work was inspired by the journals of Isabelle Eberhardt (1877-1904), one of the most remarkable women of her era. At the age of 20, she left her life in Switzerland behind for an unfettered existence in the North African desert.
Hailed by The New York Times as “a visually and aurally ravishing chamber opera…a captivating multimedia spectacle,” Missy Mazzoli’s Song from the Uproar immerses the audience in the surreal landscapes of Isabelle Eberhardt’ life: the loss of her family, the thrill of her arrival in Africa and the mystery of her demise.