{"id":6257,"date":"2021-12-05T22:21:35","date_gmt":"2021-12-05T22:21:35","guid":{"rendered":"https:\/\/pruebas.nouensemble.com\/event\/ariadne\/"},"modified":"2022-04-01T19:21:20","modified_gmt":"2022-04-01T17:21:20","slug":"ariadne","status":"publish","type":"tribe_events","link":"https:\/\/www.schallfeldensemble.com\/de\/event\/ariadne\/","title":{"rendered":"Ariadne"},"content":{"rendered":"
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PROGRAM<\/h3>\n
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ARIADNE<\/em> – Maurizio Azzan (2021, World Premiere)<\/h4>\n
monodrama-installation for voice, five performers, sound objects and electronics<\/h5>\n

Commissioned by Schallfeld Ensemble, funded by the Ernst von Siemens Musikstiftung\u00a0\"\"<\/p>\n

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Libretto by Daniele Bellomi<\/p>\n

Music by Maurizio Azzan<\/a><\/p>\n

Ariadne is a story of absence and abandon. A woman marooned on a desert island tries to reassemble the pieces of her life, marred by the abuses of men who egoistically took her, used her and then disposed of her or carried her away without any regard, treating her as a mere object. Fragmented memories emerge out of a dense fog where different versions of the myth blur together, although the only constant is Ariadne\u2019s unheard voice beneath the gods careless eyes. The protagonist, as a final effort to escape her condition, attempts to find her true self again, in order to retrace a truth that in spite of all other versions might lead her to the end of her sufferings. Ariadne is a monodrama for voice, spatialized instruments and electronics, thought of as a sort of immersive installation, which starts even before the entering of the audience in the hall, thus making so that the space of the performance, instruments, voice and public itself become all an active participant of the setup, almost symbolically. From space, which widens all the way to the foyer and its clatter, to the piano, which echoes the processed voice and its dialogue with the rest of the instruments, scattered across the hall like rocks in the sea, up to the public, at once water that surrounds Ariadne and careless eyes of the gods that observe her pain. The very same moment in which the audience enters the hall, music starts to gradually take shape, transforming the background noises in sound through live electronics in a process that blurs the boundaries between performance and audience by making the latter an active element of the setup.<\/p>\n

Read the libretto by Daniele Bellomi<\/a><\/p>\n

ARIA<\/em> – Beat Furrer (2010)<\/h4>\n
<\/span>Text<\/div>
\u00a0\u201eH\u00f6rst du? Sieh, ich kann zu dir sprechen, als w\u00e4rst du hier, \u2013 und liegt doch die Nacht zwischen uns wie ein schwarzes Gebirge, und jeder Augenblick ist eine neue Felswand von Trennung, un\u00fcbersteigbar, endg\u00fcltiger mit jeder Stunde! Und dennoch bist du hier, immer n\u00e4her bei mir, und nie konnte ich so zu dir sprechen wie jetzt. Du kamst aus der einen Einsamkeit und gehst in die andere, \u2013 jeder Kuss macht dich fremder, jede Umarmung \u00e4rmer. \u2013 Ich gr\u00fc\u00dfe dich, wie eine Klippe ihren Adler gr\u00fc\u00dft, der davonfliegt, seine Schwingen werden unsichtbar in der eisigen Ferne; wo seine Kralle ruhte, l\u00f6st sich ein Stein und f\u00e4llt in die Tiefe, das ist alles, und die W\u00e4lder bemerkten es nicht. Dorthin gel\u00fcstet es dich, nach den Wohnungen der Menschen, nach der tr\u00f6stlichen Sprache des Windes im Ge\u00e4st, ebenso wie es mich gel\u00fcstet. H\u00f6re nicht auf dein Herz und verstopfe mit Wachs deine Ohren, \u2013 denn nie wirst du das erreichen, was du ersehnst. Nicht hier und nirgendwo. Aber geh weiter, kehre nie zur\u00fcck! Deine Einsamkeit verdoppelt die meine.\u201c (\u201cDo you hear me? See, I can speak to you as if you were here, \u2013 yet the night lies between us as a black mountain range, and every moment is a new cliff of separation, insurmountable, more final by the hour! And yet you are here, ever closer to me, and never could I speak to you as I do now. You came from a solitude and continue into the next, \u2013 every kiss makes you stranger, every embrace poorer. \u2013 I greet you, as a cliff greets its eagle, flying away, the wings disappearing in the icy distance, where its claws rested, a stone loosens and falls into the deep, that is all, and the forests took no notice. You desire to be there, longing for the apartments of people, for the comforting language of the wind in the branches, just as I desire it. Do not listen to your heart and plug your ears with wax, \u2013 for you will never obtain what you long for. Not here and nowhere. But go further, never return! Your solitude doubles mine.\u201d ) <\/div><\/div>\n

OVER THE SEA<\/em> – \u00c9dith Canat de Chizy (2011, Austrian Premiere)<\/h4>\n
<\/span>Program notes<\/div>
OVER THE SEA The idea for this pieces is a result of my interest in Monet\u2019s painting. His almost obsessive fondness for different kinds of transparency leads to continuously changing objects in an ubiquitous watery element: sea, river, lake, pond\u2026 A similar relationship has developed between instruments and electronics in my music: at the beginning there is the written, instrumental composition; all transformations except for the synthetized sounds can be traced back to it. A dialectic is installed between acoustic and digital sound sources from the first bar of this piece: algorithms distort the instrumental template until it is unrecognizable, then they wait for the instrumental writing to gain back control – thus triggering the next round of processing. The result is an unstable, constantly changing sound world, that however from a formal point of view is strictly subdivided in six sequences. The accordion is mostly acting in symbiosis with the string instruments, in terms of colour it is an ideal bridge between acoustical and electronic spheres. My relationship to the sea has been an important source of inspiration for many compositions; in this piece it is seminal, the word \u201eover\u201c having a multitude of spacial and figurative meanings. <\/div><\/div>\n
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<\/span>Anna Piroli<\/div>
\u00a0Italian soprano born in Cremona, she trained under the guidance of Luisa Castellani at the Conservatorio della Svizzera Italiana in Lugano. Contemporary music has become her niche of privileged research: to this end, she has completed studies with M. Hirayama in Rome on Scelsi\u2019s vocal works, with A. Caiello and the Divertimento Ensemble in Milan, with N. Isherwood and the Ensemble Linea in Strasbourg. In 2016 she played the main character in the opera Limbus\u2013Limbo by S. Gervasoni at the National Opera House in Kiev. Often praised in her performances of Berio\u2019s Folksongs, in Italy and in Switzerland, she was also a soloist in Laborintus II at the Sala Verdi in Milan. Her performance of U. Chin\u2019s Akrostichon-Wortspiel at the Spinola Banna Foundation, with the mdi ensemble under the direction of F. Perocco, was broadcast by Italy\u2019s RadioTre. Together with Divertimento Ensemble, she sang Ligeti\u2019s Aventures, Furrer\u2019s Lot\u00f3fagos and Castiglioni\u2019s Cantus Planus, and she recorded Arie di Troposfera by F. Ciurlo for his upcoming monographic disc. With the vocal ensemble Vox \u00c0ltera she premiered B. Furrer\u2019s „A sei voci“ in Mendrisio and in Venice. She has collaborated with Biennale Musica in Venice, LaVerdi Barocca, Scelsi Foundation, Milano Film Festival and various international symposiums and festivals of early music in Milan, Trento, Rovereto, Cagliari, Innsbruck and Ljubljana. In 2018 she won the competition for the post of soprano in the Choir of the Op\u00e9ra de Dijon (France), where she also has soloistic collaborations: in 2019 she sang with Cappella Mediterranea in La finta pazza by F. Sacrati, on tour at Victoria Hall in Geneva and at the Op\u00e9ra Royal in Versailles. In February 2020 she got the role of La Bonne in the world premiere of Strafen\/Les Ch\u00e2timents by B. Pauset, conducted by E. Pomarico. <\/div><\/div>\n

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\"\"\u00a0 \u00a0 \u00a0\u00a0\"\"\u00a0 \u00a0 \"\"<\/p>\n

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Music von Maurizio Azzan, Beat Furrer und Edith Canat de Chizy<\/p>\n

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