DOCSLIB.ORG

Mitra-Programme.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mitra-Programme.Pdf MITRA HOLLAND FESTIVAL MITRA Jorge León Eva Reiter George Van Dam Claron McFadden thanks to production partner patron CONTENT Info & context Credits About Mitra About the artist Friends Holland Festival 2019 Join us Colophon INFO CONTEXT date & time introduction Tue 11 June 2019, 8.30 pm by René van Peer 7.45 pm venue Muziekgebouw running time 1 hour 15 minutes no interval language English and French with English and Dutch surtitles CREDITS concept, direction sound Jorge León Alexandre Fostier composition Eva Reiter pre-recorded music | performed by Ictus Ensemble composition choir Michael Schmid (flute) George van Dam Gerrit Nulens (percussion) George van Dam (violin) musical supervision Eva Reiter (Paetzold recorder & bass violin) Georges-Elie Octors choir dramaturgy Choral Academy De Munt/La Monnaie Isabelle Dumont Hanna Al Bender, Gwendoline Blondeel, Raphaële Green, Logan Lopez Gonzalez, scenography Pierre Derhet, Kamil Ben Hsain Lachiri Thibault Van Craenenbroeck choir coach costumes Polina Bogdanova Silvia Hasenclever thanks to voice Aurélie Deloche, Julie Chenot, Fabienne Mitra Kadivar, Jacques-Alin Miller Moris, Jean-Pierre Rehm, Bernard Foccroulle, Paul Aron, Julien Englebert, singer Amélie Derlon Cordina, Anne-Lise Gobin Claron McFadden production performer Muziektheater Transparant, Ictus Simone Aughterlony coproduction image Kunstenfestivaldesarts, Les Halles de Jorge León, Aliocha Van der Avoort and Schaerbeek, Théâtre de Liège (in the Thomas Schira context of IMPACT), De Munt/La Monnaie, Present Perfect vzw, The GMEM Marseille, child Actoral Marseille, Les films de Force Laurenz Schäfer Majeure light design Peter Quasters with support from Federation Wallonie-Bruxelles, International Film Festival Marseille FID, Camargo Foundation, IRCAM, CNC DICRéAM, Thank you & Good Night Production, Interreg V Euregio Meuse Rhin & Wallonia, Tax Shelter of the Belgian Federal Government, ONDA world premiere 9 May 2018 Brussels websites Muziektheater Transparant Ictus ABOUT MITRA by Jorge León The starting point Mitra came about as a result of a discovery on the internet: the publication of the email correspondence between the Iranian psy- chiatrist and psychoanalyst Mitra Kadivar and the French, interna- tionally renowned psychoanalyst Jacques-Alain Miller, former chairman of the World Association of Psychoanalysis, son-in-law of the renowned psychoanalyst Jacques Lacan and the responsi- ble publisher of his work. In my view, the emails that travelled back and forth between Paris and Tehran in 2012 raise important social and ethical issues. They deal with the well-being of a woman who ends up entangled in a medical and legal web, from which she is unable to escape. In my interpretation of these exchanges, I endeavour to grasp the essence of the social and political challenges that can be dedu- ced from the story and to shed light on their ethical and mythical aspects. To that end, I came up with the idea of turning the emails into an opera libretto, which I wrote with dramaturge Isabelle Dumont. Eva Reiter and George van Dam are the composers of the music. In the light of two writing residencies at the Fondation Camargo de Cassis (partner in the project), we were able to visit the Centre Hospitalier Montperrin in Aix-en-Provence. This special psychiatric institution has a clear link with the story of Mitra. Above all, the meetings with the residents at the centre were so intense that it became unthinkable to separate the opera from the creative process. That’s why it was also necessary to have several forms and a combination of approaches, in order to address the current reality of psychological suffering and confinement as faithful- ly as possible. Because how do things stand with psychiatry in the West? The project aims to draw attention to our psychiatric institutions and to enable us to make contact with those who – for various reasons – are temporarily or permanently labelled ‘abnormal’ and are rejected by a society that struggles to offer a suitable response to people’s psychological suffering. The story Mitra Kadivar is an Iranian psychiatrist and psychoanalyst who set up a school for psychoanalysis in Tehran after completing her education in France. She also wanted to convert her own home into a shelter for drug addicts. Her neighbours objected to this and complained to the official authorities. They even declared her mad, referring to her strange behaviour and her ceaseless irri- tation with a noisy child who walked around in the flat above hers. According to the neighbours, this child was imaginary and Mitra was psychotic. During her confinement, she is injected with me- dication. The emails she sends to Jacques-Alain Miller reveal the psychoanalyst’s anxieties, after which he attempts to help Mitra from France. When the Iranian psychiatrists deny her access to the internet, she depends on her students to maintain contact with Miller. They keep him informed about Mitra’s situation and tell him how she wants to prove her innocence. A petition to release Mitra is launched in France. The form – a story consisting of emails – really appealed to me. The 160 messages that were sent over the course of two months are characterised by a certain timeliness and a very tangible action. At the same time, the virtual dimension of the electronic exchanges gives the work an intangible form that lends itself brilliantly to a musical rendition. This dimension goes beyond the geographical location and distance and holds a unique, non-spa- tial and direct relationship with the space and time, which enables the true story to be turned into a special artistic work: a documen- tary opera film. I don’t only want to tell the story of Mitra, I also want to expose how artists work. During the workshops in the Centre Montperrin, I wanted to bring the residents (and their carers) into contact with the play about Mitra. I want to capture their reactions as images, trigger emotions when they hear Mitra’s cries of distress, which have been translated into music. The workshop participants are psychologically very vulnerable. Most of them are patients suffe- ring from psychosis and they are medically supported around the clock. The workshops gave them the opportunity to dive into their own emotions. The staging Two screens measuring approximately 8 metres wide and 4.5 metres high form a corner between which the audience will enter the room. The floor is covered with rugs that evoke the aesthetics of Persian rugs. To form a parallel with the exchange between two psychoanalysts, two composers, a woman and a man, take on the tone of the libretto, supported by the email correspondence. Eva Reiter and George van Dam, both members of Ictus and passio- nate composers, caught my eye for this. Eva Reiter wrote the part for the instrumentalists and George van Dam wrote the part for the choir. These two artistic ‘voices’ are designed to enter into a dialogue with each other and intertwine. We chose Claron McFadden to provide an operatic voice for Mitra Kadivar. This world-class singer is not only familiar with the ope- ratic repertoire as well as contemporary music, she is also open to new vocal experiences. Mitra also had to take on a physical shape for the audience. For that reason, Claron will appear on stage and perform an aria lasting a number of minutes. Her short intervention is designed to have the effect of an hallucination on the audience. ABOUT THE ARTISTS which premiered in May 2018 during the Kunstenfestivaldesarts. The script of his documentary film Mitra was awarded a prize by FIDLAB Marseille. Mitra was also one of the winners of the 2018 Music Theatre NOW competition. Director Jorge León studied film at the Institut National Supérieur des Arts du Spectacle (INSAS) in Brussels, where he soon became interested in the practice of documentary-making. He has cros- sed paths with many performing artists, including Olga De Soto, Meg Stuart, Benoît Lachambre and Simone Aughterlony, Born in Vienna, Eva Reiter studied re- leading to numerous joint artistic pro- corder and viola da gamba, first at the jects. His most recent productions, the University of Music and Performing Arts in films Before we go (2014), Vous êtes ser- Vienna and later under Paul Leenhouts, vis (2009) and 10 min. (2009) have been Walter van Hauwe and Mieneke van der widely screened on the international fes- Velden at the Sweelinck Conservatorium tival circuit and have garnered numerous in Amsterdam. In 2006 she earned her awards, including the FIPRESCI Prize, pre- Master’s degrees in both instruments with sented by a jury of international film honours. Reiter plays regularly as a soloist journalists at IFFR in Rotterdam in 2015, and regular member of various early and the SACD/SCAM Prize for best docu- music groups and orchestras including the mentary. Parallel to the screening of Vous Nederlandse Bachvereniging, Ensemble êtes servis at the Kunstenfestivaldesarts Mikado and Le Badinage. In recent years in Brussels León presented Deserve, a play Reiter has focused more on contemporary created together with Simone Aughterlony. music both as composer and performer, They continued their collaboration working with ensembles such as Ictus, with the production UNI*FORM (2015, Klangforum Wien, Trio Elastic3 and Duo Theater Spektakel, Zürich) and Mitra, Band. Composers she has worked with in that context include Fausto Romitelli, nent composers including Thomas Adès, Paolo Pachini, Burkhard Friedrich, Jorge Georges Aperghis, George Benjamin, Sánchez-Chiong and Raphaël Cendo. Peter Eötvos, Karel Goeyvaerts, Jonathan She has received a number of awards, Harvey, Maurizio Kagel, György Kurtàg, such as the SKE Publicity Prize in 2006, György Ligeti, Steve Reich and Karlheinz grants from the City of Vienna (2008) Stockhausen. He works as a soloist and a and the Queen Marie José International member of several contemporary groups Composition Prize (2008). Her work has including Ensemble Modern, MusikFabrik been performed at international festivals and the Brussels ensemble Ictus, of which including Transit in Leuven, Ars Musica he is one of the founding members.
Load more

Recommended publications
  • News Section
    78 Tempo 62 (244) 78–81 © 2008 Cambridge University Press doi:10.1017/S0040298208000144 Printed in the United Kingdom news section Composers elliott carter Figment IV (première) – 18 March Notes of premières of new works run from three months Washington DC, Freer Gallery / Samuel Rhodes before to three months following publication of this issue, (vla). Clarinet Quintet (première) – 29 April New i.e. from 1 January to 30 June 2008. There is therefore a York, Juilliard School / Charles Neidich (cl), Juilliard three-month overlap between issues, and omissions and String Quartet. late news for the three ‘following’ months of the current chaya czernowin Pilgerfahrten for speaker, issue will be picked up in the three ‘prior’ months of the children’s choir and ensemble (première) next one. News of more distant forthcoming premières is – 2 February Munich, Herkulessaal / Dresden given more briefl y; full details will be found in subsequent Kreuzchor c. Roderich Kreile. issues. michael daugherty Troy Jam (première) – hans abrahamsen Schnee (première) – 26 April 18 May Washington DC, Kennedy Center / National Witten, Wittener Tage / Ensemble Recherche. Symphony Orchestra c. Leonard Slatkin. john adams Doctor Atomic Symphony (US première) brett dean Short Stories (UK première) – 13 February – 7 February St Louis, Missouri / Saint Louis Norwich, St Andrew’s Hall / Britten Sinfonia c. Symphony Orchestra c. David Robertson. Jacqueline Shave. Ariel’s Music (UK première) – louis andriessen 18 April London, Barbican / Michael Collins (cl), La Commedia (première) – BBC Symphony Orchestra c. John Storgårds. 12 June Amsterdam, Koninklijk theater Carre / Claron McFadden, Cristina Zavalloni, Jeroen luca francesconi Kubrick’s Bone (UK première) – Willems, Netherlands Opera dir.
    [Show full text]
  • MMXVII RUHE the Diary of the One Who Disappeared Private View MUZIEKTHEATER TRANSPARANT LUIGI DE ANGELIS ЗМЕЯ
    WIM HENDERICKX Aquarius’ Dream Revelations LIESA VAN DER AA ParadiseHell MUZIEKTHEATER TRANSPARANT ANNELIES VAN PARYS And you must suffer MMXVII RUHE The Diary of the One Who Disappeared Private View MUZIEKTHEATER TRANSPARANT TRANSPARANT MUZIEKTHEATER LUIGI DE ANGELIS ЗМЕЯ IVO VAN HOVE Kings of War The Diary of the One Who Disappeared Roman Tragedies MM WOUTER VAN LOOY X Earth diver VI I Die Zauberflöte Revelations NAOMI BEELDENS WWW.TRANSPARANT.BE La Voix humaine CLARON MCFADDEN Secrets Lilith Nightshade: Aubergine WENDE SNIJDERS Wende CONTENTS A house full of voices 3 Artists 4 Partners & co-producers 5 NEW PRODUCTIONS Earth diver 6 Die Zauberflöte 8 Nightshade: Aubergine 10 Wende 12 The Diary of the One Who Disappeared 14 ЗМЕЯ 16 Aquarius’ Dream 18 Revelations 20 ON TOUR La Voix humaine 22 Secrets 23 Lilith 24 Listen to the silence 25 And you must suffer 26 Polar Night 27 Kings of War 28 RUHE 29 Private View 30 Roman Tragedies 31 Le coupeur d’eau 32 TRANSLAB Windischgrätz 42 Abendrot 42 ParadiseHell 43 Medeamaterial 44 Matterhonger 45 Matterhorn 46 Opera21 47 Songbook 48 Info 57 Calendar 59 A HOUSE FULL OF VOICES WIM HENDERICKX 18 Aquarius’ Dream “Over the past 20 years, Muziektheater Transparent has charted an impres- 20 Revelations sive course in which there has been room for both experimentation and established values.” This remark was part of the Music-Theatre’s Assessment Committee’s preliminary advice on our plan for the 2017-2021 period. This LIESA VAN DER AA 43 ParadiseHell motivates us even more for the future. As our aim is to profile ourselves even more pronouncedly as a music-theatre company in which the voice plays a central role, we are inviting artists whose practice centres on vocal work: ANNELIES VAN PARYS 26 And you must suffer Claron McFadden, Naomi Beeldens, Els Mondelaers, Liesa Van der Aa and 29 RUHE Wende Snijders, as well as our in-house composers Wim Henderickx and 14 The Diary of the One Who Disappeared Annelies Van Parys.
    [Show full text]
  • I Silenti the Next Creation of Fabrizio Cassol and Tcha Limberger Directed by Lisaboa Houbrechts
    I SILENTI THE NEXT CREATION OF FABRIZIO CASSOL AND TCHA LIMBERGER DIRECTED BY LISABOA HOUBRECHTS Notre Dame de la détérioration © The Estate of Erwin Blumenfeld, photo Erwin Blumenfeld vers 1930 THE GOAL For several years Fabrizio Cassol has been concentrating on this form, said to be innovative, between concert, opera, dance and theatre. It brings together several artistic necessities and commitments, with the starting point of previously composed music that follows its own narrative. His recent projects, such as Coup Fatal and Requiem pour L. with Alain Platel and Macbeth with Brett Bailey, are examples of this. “I Silenti proposes to be the poetical expression of those who are reduced to silence, the voiceless, those who grow old or have disappeared with time, the blank pages of non-written letters, blindness, emptiness and ruins that could be catalysers to other ends: those of comfort, recovery, regeneration and beauty.” THE MUSIC Monteverdi’s Madrigals, the first vocal music of our written tradition to express human emotions with its dramas, passions and joys. These Madrigals, composed between 1587 and 1638, are mainly grouped around three themes: love, separation and war. The music is rooted, for the first time, in the words and their meaning, using poems by Pétraque, Le Tasse or Marino. It is during the evolution of this form and the actual heart of these polyphonies that Monteverdi participated in the creation of the Opera as a new genre. Little by little the voices become individualized giving birth to “arias and recitatives”, like suspended songs prolonging the narrative of languorous grievances.
    [Show full text]
  • EASTMAN NOTES JUNE 2005 Draft: Web Date: July 5, 2005 INSIDE
    NOTES JUNE 2005 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR Loss, love, and legacies Dear Eastman Alumni: More than any time since I began editing Eastman Notes, the winter and spring of 2004¬2005 was marked by a sense of loss, with the deaths of two inimitable NOTES figures in Eastman’s history: Frederick Fennell and Ruth Watanabe, who died in Volume 23, Number 2 December 2004 and February 2005 respectively. June 2005 It’s representative of their importance, not just to the School but to the musical world in general, that everyone reading this magazine, no matter when they at- Editor tended, knows who Frederick Fennell and Ruth Watanabe are. Both are indelibly David Raymond associated with two monuments of the School—the Wind Ensemble and the Sib- Assistant editor ley Library. Fennell built a new model for wind band playing—and a repertory— Juliet Grabowski pretty much from scratch; while Ruth Watanabe didn’t found the Sibley Library, Contributing writers she certainly developed it to its present eminence over a 40-year career. (See Martial Bednar Christine Corrado pages 6 and 8 for more Susan Hawkshaw on their remarkable ca- Contributing photographers reers.) Both continued Richard Baker to be generous with Kurt Brownell their time and talent Bob Klein well after retirement— Gelfand-Piper Photography Amy Vetter Fennell visiting Eastman numerous times to con- Photography coordinators Nathan Martel duct, Watanabe as the Amy Vetter School’s historian. Design These two people were Steve Boerner Typography & Design definitely respected as professionals, but they Frederick Fennell Ruth Watanabe Published twice a year by the Office of were also loved as people— Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY, see the brief tributes to Fennell by his successors Don Hunsberger and Mark 14604, (585) 274-1050.
    [Show full text]
  • Download on AIR In
    2015 ON 2016 AIR ON AIR ON AIR ON AIR ON AIR ON AIR ARTIST IN RESIDENCE PROGRAMME AMSTERDAM UNIVERSITY OF THE ARTS AIR ON ON Photo: Thomas Photo: Lenden AIR p. 8–14 Claron McFadden p. 16–28 Photo: Joost Bataille Joost Photo: Gabriel Lester Photo: Jan van Breda van Jan Photo: p. 30–38 Der Theater- macher p. 40–46 Henk Schut Photo: Anne Photo: Douqué p. 48–54 Helmut Dick Photo: Thomas Photo: Lenden ON AIR Moestuin van het cultuur- landschap Hier ENG VOORWOORD Students working on a glass painting in the Academy of architecture courtyard as part of Gabriel 5 Lester’s form study classes on matte painting. Photo: Thomas Lenden AIR ON ON AIR Claron McFadden Photo: Thomas Photo: Lenden 6 CONSERVATORIUM VAN AMSTERDAM AIR ON ON AIR Music Live Interview with Claron McFadden By Maria Hagen For soprano Claron McFadden, learning is all about finding new ways of listening to music and thinking about music. ‘I give the students innova- tive triggers and encourage them to open up their thinking as broadly as possible.’ She was the 2015 Artist in Residence at the Conservatorium van Amsterdam, where she coached students from a variety of programmes to Photo: Thomas Photo: Lenden broaden their perspectives on music practice. About Claron The eternal quest for dance and video, for example. They now the project McFadden new cross-connections play a crucial role in music practice. And the relationship between technology The distinguished American soprano Claron McFadden studied at the Claron McFadden was still very young and music is a very exciting one, too.
    [Show full text]
  • Perspective Music Theatre
    flanders arts institute Perspective: Music Theatre Content Foreword............................................................................................................... 2 Expanding from the centre............................................................ 11 1. (anti-) Definitions........................................................................................... 13 The.policy.framework.for.music.theatre............................................. 13 Tradition.and.innovation......................................................................... 15 2. A landscape in motion.................................................................................. 19 Shifting.centres........................................................................................... 19 Music.theatre.for.a.young(er).audience.............................................. 26 Musicals........................................................................................................ 29 Opera.2.0...................................................................................................... 30 ‘Staged’.music.............................................................................................. 31 New.urbanisation,.hybrid.identities..................................................... 33 Tinkering.with.sound............................................................................... 34 Performing.arts:.a.fusion.of.music,.theatre.and.dance.................... 34 Socio-artistic.music.theatre...................................................................
    [Show full text]
  • The Unforgettable Songs of Leonard Bernstein
    vr 29.01.2010 The Unforgettable Songs of Leonard Bernstein feat. Claron McFadden Concertzaal - 20.00 19.15 Inleiding door Lieven Van Ael The Unanswered Question Six Talks at Harvard muzikale diversiteit. Opvallend is de analo- gie met volgende uitspraak van Chomsky: ‘En er zijn algemene universele elementen, In 1973 gaf Leonard Bernstein zes lezingen condities voor de vorm en organisatie van (de Charles Eliot Norton Lectures) in Harvard elke menselijke taal, die het onderwerp vor- University (waar hijzelf ooit studeerde) die in men van de bestudering van de “universele 1976 werden gepubliceerd onder de titel van grammatica”.’ (Uit Taal en mens, taalkundige Charles Ives’ enigmatische compositie The bijdragen aan het onderzoek van de mense- unanswered question. Sterk beïnvloed door lijke geest.) het werk van de linguïst Noam Chomsky, onder meer Language and Mind, behandelt Bernsteins laatste lezing klinkt tevens als een Berstein achtereenvolgens de fonologische, hoopvolle boodschap in de lijn van de finale grammaticale en semantische aspecten van van Beethovens Negende. We laten hem tot muziek. Hij gelooft in het bestaan van een slot nog even zelf aan het woord. Hij is ervan universele muzikale syntaxis die gecodeerd overtuigd dat: ‘All particular languages bear en gestructureerd kan worden in termen van on one another, and combine into always symmetrie en herhaling en doorheen deze new idioms, perceptible to human beings. bijzonder boeiende lezingen klinkt de over- And that ultimately these idioms can all tuiging dat tonaliteit de grondslag is van alle merge into a speech universal enough to be muziek. Bernstein besluit deze lezingen, die accessible to all mankind.’ in de gedrukte versie maar liefst 425 pagina’s beslaan, met een al even enigmatisch state- Johan Huys ment als Ives ‘unanswered question’: ‘(…) And finally, I believe that because all these things are true, Ives’ Unanswered Question has an answer.
    [Show full text]
  • Page 13 Musici / Musiciens
    Nederlands: pagina 3 Français : page 8 English: page 13 Musici / Musiciens: pagina / page 19 2 “One happy thing about sound was that I could control the music, so I composed my own. I tried to compose elegant and romantic music to frame my comedies in contrast to the tramp character, for elegant music gave my comedies an emotional dimension. Musical arrangers rarely understood this. They wanted the music to be funny. But I would explain that I wanted no competition, I wanted the music to be a counterpoint of grave and charm, to express sentiment, without which, as Hazlitt says, a work of art is incomplete. (...) Nothing is more adventurous and exciting than to hear the tunes one has composed played for the first time by a fifty piece orchestra.“ - Charles Chaplin 3 WELKOM De magie van Charlie Chaplin blijft ook na bijna 100 jaar fantastisch indrukwekkend, ontroerend en hilarisch. De sympathieke zwerver, die ondanks zijn goede bedoelingen toch steeds weer in de problemen raakt, laat ons allemaal, klein én groot, lachen en nadenken. De meester zorgt gelukkig steeds voor een happy end, en componeerde ook voor The Kid zelf de prachtige muziek. Een pareltje. PROGRAMMA The Kid (1921) Charles Chaplin, regie & muziek (arr. Carl Davis) Charlie Chaplin als The Tramp Jackie Coogan als The Kid (John) Edna Purviance als The Woman FILMPHILHARMONIC EDITION Film ter beschikking gesteld door Roy Export S.A.S. Muziek ter beschikking gesteld door Bourne Co. Music Publishers. Brussels Philharmonic · Dirk Brossé, dirigent · Otto Derolez, concertmeester 4 SYNOPSIS Een verwarde vrouw legt haar pasgeboren baby te vondeling in een limousine.
    [Show full text]
  • Catalogue Wim Henderickx (08-2020)
    Wim HENDERICKX List of Works © Photo by Filip Van Roe (2019) WIM HENDERICKX: BIOGRAPHY (August 2020) Wim Henderickx is a Flemish composer, based in Antwerp. He studied compositon and percussion at the Royal Conservatoire of Antwerp and sonology at Ircam in Paris and at the Conservatoire of Music in The Hague. He received numerous awards, such as the Prize for Contemporary Music Flanders-Québec in 1993. In 2006 he was nominated for the Flanders Culture Prizes and in 2011 he received the Lifetime Achievement Award in Lier (BE), his birthplace. In 2015 he was appointed as a member of the Royal Flemish Academy of Belgium (KVAB) for Science and the Arts. Wim Henderickx is professor of composition at the Conservatories of Music in Antwerp and Amsterdam and he is the main coach on the SoundMine Summer Composition Course for young composers, which is organised by Musica, Impulse Centre for Music. Many of his compositions are influenced by oriental music and philosophy. Between 2004 and 2010 he worked on the TANTRIC CYCLE, a seven-part composition series based on Oriental philosophy and Buddhism. Wim Henderickx has been Composer in Residence at Muziektheater Transparant since 1996 and in 2013 he joined the Antwerp Symphony Orchestra as Artist in Residence. The full DOUBLE CD (2016) with four of his works recorded by the Antwerp Symphony Orchestra with conductors Martyn Brabbins and Edo de Waart, received international acclaim including five stars in BBC Music Magazine. Henderickx’s first opera TRIUMPH OF SPIRIT OVER MATTER premiered in 2000 at La Monnaie in Brussels and ACHILLEUS, an opera for young people, had multiple performances in Antwerp and Copenhagen (2003 - 2006).
    [Show full text]
  • Muziektheater Transparant
    MUZIEKTHEATER TRANSPARANT © Hanneke Kuijpers Lilith Claron McFadden | Dimitar Bodurov maandag 9 september 2013 | NL Muziektheater Transparant 3 1. Algemeen 4 2. Credits 5 3. Biografieën 7 4. Achtergrondinformatie 11 5. Praktische informatie 12 6. Contact 13 6.1 Contact voor boekingen 13 NL |2 Muziektheater Transparant Muziektheater Transparant vertrekt als productiehuis vanuit een artistieke en maatschappelijke actualiteit, waarin ze in een intensieve dialoog treedt met kunstenaars uit verschillende disciplines. Als doelstelling wil het gezelschap op internationaal niveau muziektheater in al zijn diversiteit creëren, vernieuwen en presenteren. Het vocale neemt in elk nieuw project een centrale plaats in. Bovendien wordt ernaar gestreefd oude en nieuwe muziek op een originele en eigenwijze manier met elkaar te verbinden. Muziektheater Transparant heeft een hart voor hedendaagse muzikanten en diens verdere ontwikkeling en ondersteunt ze dan ook vanaf het prille begin en tijdens een langer parcours. Vanuit een internationaal perspectief vormen reisvoorstellingen en samenwerking met internationale structuren een belangrijk deel van de werking. Zo was het gezelschap eerder te gast bij de Salzburger Festspiele, het KunstenfestivaldesArts, diverse Cultuursteden van Europa, Edinburgh International Festival, Holland Festival. Muziektheater Transparant is een veelgevraagde partner bij belangrijke organisatoren zoals Flagey (Brussel), Concertgebouw Brugge, deSingel (Antwerpen), De Vlaamse Opera (Antwerpen en Gent), OPERA XXI (tweejaarlijks festival voor hedendaags muziektheater), De Munt Brussel, Muziekcentrum De Bijloke Gent, Parktheater Eindhoven, Grand Théâtre Luxembourg en Bergen National Opera. De verscheidenheid aan voorstellingen, artiesten en productiemethodes geeft Muziektheater Transparant een uniek, nationaal en internationaal karakter. www.transparant.be NL |3 1. Algemeen Lilith is een voorstelling van muziektheater waarbij operazangeres Claron Mc Fadden niet alleen uitvoerend musicus is, maar – voor de eerste maal – ook het gehele concept bedacht.
    [Show full text]
  • Eastman Heard Round the World
    NEW FEATURE EASTMAN’S Gateways’ Lee Koonce Alumni on the Move Jazz Festival Diary EASTMAN FALL 2016 Eastman Heard Round the World In the American Wild, China, Italy, and Elsewhere The EASTMAN PHILHARMONIA at LINCOLN CENTER Conducted by Neil Varon Featuring Renée Fleming Historic Premiere of Letters from Georgia by Pulitzer Prize-Winning Composer Kevin Puts Two distinguished Eastman alumni— world-renowned soprano Renée Fleming (MM ’83, ’11 Honorary) and Pulitzer Prize-winning composer Kevin Puts (BM ’94, DMA ’99)— join forces for the New York premiere of a new song cycle inspired by Georgia O’Keeffe. Kevin Puts Neil Varon Ravel: Rapsodie espagnole Puts: Letters from Georgia* Prokofiev: Symphony No. 5, Op. 100 Monday, November 14, 2016, 8 PM Alice Tully Hall, Lincoln Center Ticket information at esm.rochester.edu/concerts/series/nyc * Commissioned by the Eastman School of Music with the generous support of Joseph and Bette Hirsch (’64) and the Howard Hanson Institute for American Music. World premiere in Rochester on Saturday, November 12 at Kodak Hall at Eastman Theatre. Tickets at EastmanTheatre.org ESM_PhilNYC_NotesAd_Final-r1.indd 1 9/21/16 11:44 AM { FALL 2016 } “The hardest-working man at the jazz festival”: Eastman guitarist Bob Sneider closed out each Xerox Rochester Jazz Festival night with an after-hours jam at the Holiday Inn Downtown. 2 From the Dean 3 Brief Notes 4 Alumni on the Move 19 School News 6 10 26 Eastman Exceptions Recordings Jazz Festival Heard to the Rule: 29 14 Alumni Notes Diary Round Gateways the World at Eastman 33 From June 24 to July 2, jazz was In Memoriam at the center of Rochester—and Eastman ensembles With a new partnership, 34 spanned the globe with Eastman hopes to open Tributes Eastman musicians were at the center music this summer.
    [Show full text]
  • ON AIR 2016 2015 Artist in Residence Programme
    2015 ON 2016 AIR ON AIR ON AIR ON AIR ON AIR ON AIR ARTIST IN RESIDENCE PROGRAMME AMSTERDAM UNIVERSITY OF THE ARTS AIR ON ON Photo: Thomas Photo: Lenden AIR p. 8–14 Claron McFadden p. 16–28 Photo: Joost Bataille Joost Photo: Gabriel Lester Photo: Jan van Breda van Jan Photo: p. 30–38 Der Theater- macher p. 40–46 Henk Schut Photo: Anne Photo: Douqué p. 48–54 Helmut Dick Photo: Thomas Photo: Lenden ON AIR Growing the arts in the cultural landscape By Marijke Hoogenboom The positioning of arts education and the place of artists within it are recur- ring topics in our publications about the Artist in Residence programme at the Amsterdam University of the Arts. Time and again we have attempted to show the importance of the influence of the professional field at large. We organise all sorts of direct exchanges between departments and profes- sional artists’ expertise, methods and imaginations. The AIR programme is the university’s preferred instrument for initiating interactions with profes- sional practice through unique projects and research programmes that go off the beaten track. In this issue of ON AIR we are once again presenting a wide range of AIRs hosted by the Conservatorium van Amsterdam, the Academy of Architecture, the Reinwardt Academy, de Theaterschool and the Education in Arts masters programme. In October 2015 the Flemish Belgian cultural journal rekto:verso compiled a number of inspiring reflections on the cur- rent state of art education in the Benelux. As well as professional expertise and ideals for the future, this edition examined the quantitative focus of the market.
    [Show full text]