8 DECEMBER 2024, NÜRTINGEN
Nordic sounds
The Nordic Sounds program showcases works by composers from Sweden (Catharina Backman and Karin Rehnqvist), Iceland (Björk), Finland (Kaija Saariaho), and Denmark (Nicolai Worsaae). Two of the trio pieces were specially commissioned by Nordic composers for TRIO vis-à-vis, reflecting the trio’s close and intensive collaboration with these artists.
This program aims to highlight the unique soundscapes and tonal colors characteristic of Nordic composers.
A standout feature is the trio’s own arrangement of three songs by Icelandic pop icon Björk, tailored specifically for their instrumentation. Additionally, the program underscores the remarkable presence of female composers, making it a celebration of their creative contributions to Nordic music.
- Catharina Backman (*1961): Vestigios (de tus…), 2018/19), for soprano, alt flute and violoncello.
- Kaija Saariaho (1952-2023): Spins and Spells (1996), for violoncello solo.
- Karin Rehnqvist (*1957): Så går en dag (2000), for voice solo.
- Kaija Saariaho (1952-2023): Changing light (2005), for soprano and flute.
- Nicolai Worsaae (*1980): Gajo (world premiere, 2023), for soprano, flute and violoncello.
- Björk (*1965): Venus as a boy; Violently happy; All is full of love (arrangement by TRIO vis-à-vis).
Domnick Sammlung
5.30 PM
14 NOVEMBER 2024, STUTTGART
Nordic sounds
Works of Nicolai Worsaae, Kaija Saariaho, Karin Rehnqvist, Catharina Backman and Björk
The Nordic Sounds programme brings together works by composers from Sweden (Catharina Backman and Karin Rehnqvist), Iceland (Björk), Finland (Kaija Saariaho) and Denmark (Nicolai Worsaae). The three trio pieces were commissioned by Nordic composers for TRIO vis-à-vis, with whom the trio has worked intensively.
With this programme we want to present the special sounds, timbres and sound worlds of the Nordic composers.
Highlights of our programme are the trio’s own arrangement of three songs by Icelandic popstar singer Björk for its own instrumentation and the almost absolute presence of female composers.
University of Music Stuttgart
7 PM
31 OCTOBER 2024, STUTTGART
Turning and turning. Tribute concert to Maria Kalesnikava
Photo: @Maxim Shumilin
TRIO vis-à-vis plays world premieres of Iván González Escuder and Artur Kroschel. Other works of Charlotte Seither, Neil Tòmas Smith, Alberto Bernal and Johannes Kreidler.
Theater Atelier
8 PM
With the support of: Gerhart und Renate Baum-Stiftung, Deutscher Komponistenverband and Stuttgarter Kollektiv für Aktuelle Musik e. V.
With the collaboration of: Theater Atelier
26 OCTOBER 2024, COLOGNE
Lunch concert at the Sankt Peter Church
TRIO vis-à-vis plays works of Helena Cánovas and Helmut Lachenmann
Sankt Peter Church
1 PM. Free entrance
More information: https://www.sankt-peter-koeln.de/wp/musik/konzerte/
17 OCTOBER 2024, STUTTGART
3. Stuttgarter Wissenschaftsfestival
TRIO vis-à-vis plays works of Alberto Bernal at the 3. Edition of Stuttgart’s Science Festival. Works of Nikola Lutz will also be presented.
In extinct.freedom, the TRIO vis-à-vis and Nikola Lutz come together to confront the drastic social consequences of surveillance capitalism. In her interactive installation extinct.algorithm, Lutz makes it possible to experience the inescapable superiority with which China digital technology into a weapon against its own citizens, whose historical first victims are the Uyghurs. In the concert Unendliche Freiheit?, the TRIO vis-a-vis and composer Alberto Bernal examine the loss of freedom through neoliberal pragmatism in mechanized worlds of production that degrade people to humane means of production. With Made in China/Epitaph Bernal recalls the Foxconn worker and poet Xu Lizhi, who only escaped the only escaped the slave-like working conditions by committing suicide. Foxconn is the main contract manufacturer for the largest producers of electronic products all over the world such as Apple, Amazon, Sony and Microsoft and is thus deeply interwoven with our everyday lives.
From 5 until 9 PM
More information: https://skam-ev.org/portfolio/extinct-freedom-k-r-a-m-2024-2/
Funded by: Stuttgarter Kollektiv für Aktuelle Musik e. V.
In cooperation with: Werkstatthaus Stuttgart and as part of the 3rd. Stuttgart Science Festival.
6 OCTOBER 2024, RÖSSING
STIMMUNG, Karlheinz Stockhausen
Forum Neuevokalmusik sings Stimmung (1968) of K. Stockhausen at Community Nordstemmen, Landeskreis Nordstemmen.
St. Peter and Paul Church
6 PM
28 and 29 SEPTEMBER 2024, ESSLINGEN
wort für wort (geraum), by Antoine Berger (2002/2003)
für 6 Sprechstimmen, Dichterlesung und elektronische Klänge
In Kooperation mit tonART Esslingen
Buchhandlung Die Zeitgenossen
Sa., 28.09.2024: 6 to 12 AM
Su., 29.09.2024: 7 AM to 1 PM
24 SEPTEMBER 2024, STUTTGART
Interferenzen (Vokalmusik zwischen neuer Musik und Pop)
TRIO vis-à-vis plays together with the InSzene scholarship holders as part of the concert series “Südseite Nachts” by Musik der Jahrhunderte.
Tribute to Björk (Improvisational approaches). Songs: Venus as a boy, Violently happy, All is full of love.
P1-Concert hall (Theaterhaus, Musik der Jahrhunderte, Stuttgart)
7.30 PM
13. – 15. SEPTEMBER 2024, LEUVEN (BELGIUM)
Conference at the 13th. Biennial International Conference on Music since 1900
As part of my PhD. interdisciplinary research in musicology and linguistics at the Complutense University of Madrid (Spain), I will be presenting the lecture “Expectation and relevance in non-tonal music: a theoretical approach through Helmut Lachenmann’s temA“
Monseigneur Sencie-Instituut and Faculteit Letteren
23. and 24. JUNE 2024, STUTTGART
A creative audio and video recording of Lachenmann’s temA
TRIO vis-à-vis together with the film maker James Chan-A-Sue will record a creative and spacy video and audio recording of Helmut Lachenmann’s work temA at the Bunker at Diakonissenplatz.
Bunker at Diakonissenplatz (Rosenbergs. 23, Stuttgart)
Idea, concept and recording: James Chan-A-Sue
Funded by: Deutscher Musikrat
With the kind support of: Stuttgarter Kollektiv für Aktuelle Musik e. V. and Kultur im Bunker e. V.
18 JUNE 2024, STUTTGART
radioACTIVE LOVE
Works of Helena Cánovas, a world premiere of Nicolai Worsaae, Kaija Sariaaho and Alberto Bernal
TRIO vis-à-vis plays a world premiere of Nicolai Worsaae (Gajo), a work of Helena Cánovas (Penelope. Eine Studie über das Warten), Dolce tormento (Kaija Sariaaho) and [VOIDS] C. Monteverdi – Si dolce è’l tormento (Alberto Bernal)
radioACTIVE LOVE (Amoradi(a)ctivo, in Spanish) is a project that expresses the different sides of a woman’s love and desire: explosive, fierce, passionate, desperate, longing, rapturous and finally, as the anagrammatically encoded title itself suggests in Spanish, radioactive, active and addictive. Both in Gajo, by Nicolai Worsaae, and in Penelope. Eine Studie über das Warten, by Helena Cánovas, are intended to address the many facets of love, with a focus on the female perspective and the social role of women. In Gajo, the Danish composer presents short scenes in an improvised manner about the seductive, playful and instinctive love of a woman who is both author and interpreter. In Penelope. Eine Studie über das Warten, Spanish composer Helena Cánovas i Parés, in collaboration with dramaturge Maike Graf, presents various scenes of a desperate and passionate love of the mythological figure Penelope and explores the themes of waiting, fidelity and sacrifice.
The Danish composer Nicolai Worsaae takes on the setting of Amoradi(a)ctivo, Spanish poems by Natasha López, and composes a scene for each poem. The result is a musical composition in the form of a song cycle with seven scenes. The starting point for his artistic process of setting Natasha López’s Spanish poems to music is not only the words themselves, but also the fact that López is both author and interpreter.
P1-Concert hall (Theaterhaus, Stuttgart), Musik der Jahrhunderte
7 PM
In collaboration with: InterAKT Initiative e. V.
Funded by: Albrecht Beck Stiftung e. V.
With the kind support of: Musik der Jahrhunderte e. V.
15 MAY 2024, HEILBRONN
Solo Recital of contemporary music works as part of the concert series “Perspektiven Heilbronn”
Natasha López sings works of Charlotte Seither, Adriana Hölszky, Daryl Runswick, Georges Aperghis, Giacinto Scelsi, Enno Poppe, Karin Rehnqvist, Klaus-Steffes Holländer (World Premiere) and Carola Bauckholt.
Städtischen Museen Heilbronn im Deutschhof
7.30 PM
More Information: https://www.kulturring-heilbronn.de/index.php/perspektiven
9 DECEMBER 2023, ESSLINGEN
Concert dedicated to Maria Kalesnikava
TRIO vis-à-vis plays a concert dedicated to Maria Kalesnikava, her music colleague member of TRIO vis-à-vis and friend, who has become a political prisioner since September 9, 2020 in Minsk (Belorussia).
Kutschersaal (Esslingen)
7 PM
7 and 8 DECEMBER 2023, STUTTGART
Reopening: VIRUCIDE
TRIO vis-à-vis and guests play VIRUCIDE as part of the Internationales Digitalkunst Festival Stuttgart.
Underground bunker at Diakonissenplatz (Rosenbergstr. 23, Stuttgart)
7.30 PM
More Information: www.ku-bu.de
Funded by: Landeshauptstadt Stuttgart and the Freie Tanz- und Theaterszene Stuttgart
Cooperation partners:
14 NOVEMBER 2023, STUTTGART
Internationales Digitalkunst Festival: SZENEN
Works of N. Thòmas Smith, Helena Cánovas, Sophie Pope, Nicolai Worsaae and Catharina Backman.
The concert SCENES presents various short music theater pieces, which were created for the TRIO vis- à-vis as a composition commission. They include scenes from the works of the Spanish poet Federico García Lorca and from his own life as a writer; a contemporary interpretation of the Greek mythology and female figure Penelope from a 21st century perspective and her exploration of fidelity, chastity, waiting and unconditional love; a musical exploration of animal behavior in relation to groups as opposed to solitary; arrangements of songs from different periods (classical, romantic and pop) and the setting and staging of erotic poems written by Natasha López.
Württembergisches Kunstverein, Stuttgart
9 PM
More information and tickets: www.idkf.org
1 OCTOBER 2023, FREIBURG im BREISGAU
Flute Festival Freiburg. SPOT ON MARIA KALESNIKAVA. Tribute concert to Maria Kalesnikava
TRIO vis-à-vis plays Penelope, eine Studie über das Warten (2021/2022), by Helena Cánovas and Maike Graf within the Flute Festival Freiburg, by “Deutsche Gesellschaft für Flöte e. V.”
www.flutefestival.de
4 PM
27 and 28 SEPTEMBER 2023, Villa Elisabeth, BERLIN
Participation in symposiums and concerts as guest Ensemble-Scene of “Deutscher Musikrat”
TRIO vis-à-vis participates as guest in the event in the Villa Elisabeth in Berlin, where the ensembles can present themselves and at the same time relevant topics of the ensemble scene are discussed with renowned guests. The concerts and the symposium should intertwine and deal with diversity in terms of content (sometimes more concretely, sometimes loosely).
28 SEPTEMBER 2023, BERLIN
Natasha López sings works of Margarete Huber, Giacinto Scelsi, Adriana Hölszky and George Aperghis as part of the event “Diversität und Neue Musik” with symposiums and concerts organized by Podium Gegenwart of Deutscher Musikrat.
Villa Elisabeth
Invalidenstr. 3, 10115 Berlin
10.30 AM
More Information: https://www.podium-gegenwart.de/symposium
23 SEPTEMBER 2023, FREIBURG im BREISGAU
CONFERENCE: Expectation and relevance in non-tonal music: a theoretical approach through Helmut Lachenmann’s temA (1968)
Natasha López has been invited to hold a conference about expectation and relevance in non-tonal music at the 23rd Annual Conference of the German-Speaking Society for Music Theory (GMTH), which will take place on September 22-24, 2023 at the University of Music Freiburg
Expectancy plays an important role in both language and music processing and its study has become a major topic in cognitive science research. Meyer (1956) first suggested that emotional responses to music in listeners are determined and triggered by the fulfillment of expectations. Lehrdahl and Jackendoff (1983) posited a musical grammar that explains the mental procedures under which the listener constructs an unconscious understanding of music -a model comparable to Noam Chomsky’s transformational and generative grammar in the field of linguistics. In recent years, musical expectation has been introduced into the framework of modern cognitive science and has been studied empirically with behavioral and neural methods. Nevertheless, most of the research is usually restricted to tonal music.
For non-tonal music, I am working on combining these perspectives with others such as Sperber and Wilson (1986/1995) Relevance Theory, in the field of Linguistic Pragmatics, and the ITPRA Theory (Huron, 2006). Relevance Theory posits that the ostensive and mutually overt character of utterances automatically generates a set of expectations that guide the hearer towards the speaker’s meaning; ITPRA Theory defends the phenomenon of surprise as a failure of expectation.
Since both music and language share the cognitive capacity to create expectations, the aim of this lecture, related to my PhD project, is to argue to what extent we can rely on and make use of linguistic theory regarding violation of expectations in non-tonal music contexts.
The correspondence between the composer’s intention and the listener’s interpretation in non-tonal music is often misunderstood or unclear. In order to understand this gap and considering that expectations create mental and behavioral patterns that help us to obtain a prior knowledge to anticipate and predict future events, the goal is to analyse which musical parameters are likely to form mental patterns in non-tonal music, so that future musical events and their respective expectations can be predicted and understood more clearly by listeners.
I will ilustrate this new theoretical framework through a case study directly linked to my artistic practice as a singer. I will present interpretative examples of several musical excerpts from Helmut Lachenmann’s temA (1968).
5 PM
More Information: https://www.gmth.de/veranstaltungen/jahreskongress.aspx
2 AUGUST 2023, KALAMATA (GREECE)
INTERNATIONAL KALAMATA MUSIC DAYS
TRIO vis-à-vis plays different music theater works which have been mostly composed for its cast. Works of, among others, Helmut Lachenmann, Helena Cánovas i Parés, Neil Tòmas Smith, Sophie Pope, Nicolai Worsaae and Catharina Backman.
More information and tickets: www.kalamatamusicdays.com
17, 18 and 19 JULY 2023, STUTTGART
Sound and video recording
TRIO vis-à-vis is recording (video and sound) the most important works composed for its cast.
Works of Nicolai Worsaae, Helmut Lachenmann and Catharina Backman.
Funded by: Podium Gegenwart (Deutscher Musikrat)
Cooperation partners: Stuttgarter Kollektiv für Aktuelle Musik e. V. and Kultdiak Stuttgart e. V.
30 JUNE 2023, ONLINE
CONFERENCE: Expectation and relevance in non-tonal music: a theoretical approach through Helmut Lachenmann’s temA
Natasha López has been invited to hold a conference about expectation and relevance in non-tonal music at the “Encuentro canario de las artes”, which will take place on June 30, July 1 and 2, 2023 in Candelaria (Tenerife). The meeting will be a hybrid modality: face-to-face and online connection at the same time.
12 PM
More Information: http://www.encuentrocanarts.com
25, 26 and 27 MAY 2023, LUDWIGSBURG
Rote Kammer, ein Frauenzimmer
In the novel of classical Chinese literature “The Dream of the Red Chamber” there are about forty different female characters and a protagonist who insists on the superiority of women over men. The author constructs the lives and personalities of these female characters in great detail – very feminist at first glance, but whether they can really get out of this “room” when created in a male-oriented context is not entirely clear.
In the interdisciplinary musical theater Rote Kammer, ein Frauenzimmer, the Chinese director, Mu Wang, will invite four fictional characters (two from the novel such as Gretchen and Emilia Galotti), to have a cup of tea. The performance opens with a dream in which the dream owners show the audience a long list of the fates of the female characters.
Justine, Rockstroh, actress
Tabea Günther, actress
Natasha López, singer and musical facility
Philine Pastenaci, dramaturge
Jule Köpke, Henriette Schwabe and Amelie Enders, stage/costume designers
Mu Wang, idea, concept and scene director
17 and 18 MAY 2023, STUTTGART
Musical rehearsals with Lachenmann and his work temA
TRIO vis-à-vis takes master classes with Helmut Lachemann and rehearses his work temA, for violoncello, flute and voice.
University of Music Stuttgart
10 AM
FEBRUARY – APRIL 2023, STUTTGART
Grant-like funding for ensembles and bands (FEB-III) – Musikfonds e. V.
TRIO vis-à-vis will be working for 3 months with the composer Helena Cánovas and the dramaturg Maike Graf about putting on stage the role of “Medea”, as a continuation of their first project “Penelope” and the new interpretation and debate about female roles in the baroque and romantic operas.
20 JANUARY 2023, MADRID (SPAIN)
Miradas antológicas: la vitalidad del pasado en Fernando Zóbel
TRIO vis-à-vis plays contemporary music in relation to the exhibition of the paintings of Fernando Zóbel.
Works of Tomás Marco, José María Sánchez-Verdú, Helmut Lachenmann, Nicolai Worsaae, Giacinto Scelsi, Kaija Saariaho, Morton Feldman and a commissioned world premiere of Alberto Bernal.
The concert will be broadcast on a deferred basis on “Radio Clásica”.
CONCERT HALL, MUSEO DEL PRADO
7 PM
More information and tickets: Miradas antológicas: la vitalidad del pasado en Fernando Zóbel
22 JANUARY 2023, LEONBERG
RE-fractions and RE-flections:
Out of the Box – Concert series of Contemporary Music
The TRIO vis-à-vis combines the past with the present and looks for new perspectives. The three musicians choose pieces from bygone times and transform them through different compositional processes such as deconstruction, emptying or interruption. Through this transformation, previously known music is interpreted in a contemporary way and can be experienced in a new way.
The TRIO vis-à-vis transforms works by Feldman, Lachenmann, Saariaho, Scelsi, Worsaae, Furrer, Monteverdi and Bernal.
TOWN HALL FOYER
7.30 PM
More information and Tickets: Re-fractions and Re-flections
6 NOVEMBER 2022, SCHORNDORF
Contemporary music at the concert series “apropos”
TRIO vis-à-vis plays works of J. Broekman, N. Worsaae, N. Thòmas Smith, Sopie Pope (Premiere), L. Berio, etc. at the “Q Galerie” (Schorndorf). The concert is dedicated to our friend and music colleague Maria Kalesnikava. www.freemascha.org
Q-Galerie, Schorndorf
7 PM
28, 29 & 30 OCTOBER 2022, STUTTGART
VIRUCIDE, an interactive music theater with puppet theater, dance and new media about COVID-19
VIRUCIDE describes the dramatic story of an acellular microscopic infectious agent (SARS-CoV-2) from an artistic point of view. It’s a biological drama inspired by the development of the COVID-19 virus in recent years and mainly describes the fight between two protagonists: SARS-CoV-2 and the antidote VIRUCIDE. The music theater performance presents the different phases of the course of the disease of the COVID-19 virus in connection with their social effects and at the same time deals with the social, psychological, political, economic and human dimensions in relation to the consequences. Ultimately, VIRUCIDE is music theater about life and death.
The music theater is conceived as a musical hike through the underground bunker (the inside of the body). The audience can experience the different phases of the COVID-19 disease through the scenes in which the symptoms and effects of this disease develop. The musical theater will also offer the audience the opportunity to take an active role by allowing the performance to choose between the two proposed endings: death or recovery. Each ending takes place at a different exit of the bunker.
The project shows the double edge of globalization: on the one hand, the strength of humanity to organize and act globally and, on the other hand, the fragility of humans in the face of the accelerated spread of diseases. The illusion of immortality that has been dormant in the collective unconscious of humanity in the 21st century has been taken away from us by the pandemic. How do we deal with the globalized world?
BUNKER AT DIAKONISSENPLATZ (Rosenbergstr. 23)
7.30 PM
ARTISTS:
Musicians:
TRIO vis-à-vis: Guillermo González, flute; Natasha López; voice and violin; Hugo Rannou, violoncello
Puppet theater and puppeteer: Robert Buschbacher
Dance: Marija Skender
Performers: Magda Agudelo and Desiree Lune
Digital and super-digital object installations:
SENSE TRANS TECHNO Kollektiv: Manuel Lindenborn, Jan Cafuk
Figurin maker: Kim Gorinski
Composition/Video production and electronics: Remmy Canedo
Grafic designer: Mariia Prudnikova
Press and public relations: Miriam Hertfelder
Concept, Lyrics and project management: Natasha López
A production of Natasha López and Remmy Canedo
Funded by: Ministerium für Wissenschaft, Forschung und Kunst Baden-Württemberg, Musikfonds e. V. and LBBW-Stiftung
Cooperation partners: FTTS e. V. and SKAM e. V.
With the kind support of: www.ku-bu.de (Kultdiak Stuttgart e. V.)
3 OCTOBER 2022, LUDWIGSHAFEN
MATINÉE on the Day of German Unity
TRIO vis-à-vis plays works of Ivan Fedele, J. S. Bach, G. Scelsi, A. Caplet among others, as part of the reading of texts by Svetlana Alexijewitsch and as a tribute to our friend and musician Maria Kalesnikava.
CÄCILIENCHOR, LUDWIGSHAFEN
11 AM
More information: https://www.caecilienchor-ludwigshafen.de/konzerte-auftritte/
19. to 21. SEPTEMBER 2022, Palace Engers/Neuwied
DEUTSCHER MUSIKRAT ACADEMY
Natasha López as music director of TRIO vis-à-vis assists to conferences, symposiums and meetings as scholarship holder of the “InSzene” program from Podium Gegenwart of Deutscher Musikrat.
Full-time
25 JUNE 2022, STUTTGART
Stuttgarter Wissenschaftsfestival
Natasha López plays violin and sings AMNIOSIS, song cycle for voice, violin, biofeedback, live electronics & video
Music: Remmy Canedo
Lyrics: Natasha López
Program:
“Seven levels of awareness”, Reactive Ensemble & Guests
Alvin Lucier – “Music for Solo Performer” (1965) for EEG and percussion instruments.
Remmy Canedo – “Physiological Songs” (2014) musiktheater for voice, biofeedback & multimedia
Richard Teitelbaum – “Spacecraft” (1967) for 5 musicians, reeds, synths, EKG, EEG & transducers.
Remmy Canedo – “Amniosis” (2017) song cycle for voice, violin, biofeedback, live electronics & video
David Rosenboom – “On being invisible” (1976-77) for synths & EEG
Remmy Canedo – “Inner beats” (2022) for several performers and EKG.
Richard Teitelbaum – “Spacecraft” (1967) for 5 musicians, reeds, synths, EKG, EEG & transducers.
“Seven levels of awareness” is a blended program, an extended event with a hybrid format between concert and participatory installation, focusing on biofeedback art. The concept of biofeedback is to provide visual or audible feedback of a specific physiological activity in order to become aware of it. The goal of biofeedback is to reach a level of consciousness that allows us to intentionally manipulate our body systems. In the artistic context, biofeedback is used to generate and control these impulses according to the ability of the performer. This opens up a new dimension for artists, based on the intertwining of inner and outer relationships, which lead to new experiences of a dynamic world through a deepening of self-awareness. In this sense, the artwork uses consciousness as a relational process, where experimenting with oneself opens up new ways of exploring and understanding one’s surroundings.
The program includes seven pieces exploring different approaches to how physiological functions of one’s body can be used in artistic practices, for example in “Music for Solo Performer”, one of the first pieces for biofeedback, a drummer plays multiple instruments through the generation of Alpha waves using EEG in real time. “Physiological Songs” is a post-dramatic musical theater in which the singer uses her organs as musical instruments to accompany her singing. In Teitelbaum’s “Spacecraft” a collective work of 5 musicians is performed, which are led into the collective consciousness and the many merge into one.
Pop culture is also present in this program with the song cycle “Amniosis”, which uses the body’s signals to recreate the clichés of electronic music, but with human interference due to the irregularity and imprecision of our impulses. “On Being Invisible” takes a different approach with a self-organizing form of music. Here Rosenboom uses EEG, synthesizers and a dynamic system to create a work in constant flux rather than a fixed composition. The installation “Inner Beats” examines the concept of sympathetic resonance from a biological perspective, where people from the audience are invited to participate with their heartbeat through EKG sensors.
As most of these works are conceived as evolutive processes centered on the phenomenology of the temporal and spatial relationship expressed through music, some of them have an open duration. That is why this program is designed as a concert installation to push the boundaries of the traditional concert format.
This program is in honor of Alvin Lucier (5/14/1931 – 12/1/2021), pioneer of biofeedback music.
4. to 7. JUNE 2022, STUTTGART
Penelope. Eine Studie über das Warten
The myth of Penelope is part of Homer’s epic “The Odyssey”. One of the functions of the epic is to build models that people can imitate. The characters that intervene in his narratives are archetypal. That is, they synthesize a set of values and skills that make them ideal for a society. The tradition presents the figure of Penelope as a symbol of loyalty (pattern of a faithful wife), as she has been waiting for Ulises for years. To do this, she put off her numerous suitors by pretending that she had to weave a burial shroud for Odysseus’s elderly father. But during the night she kept undoing what she had woven during the day.
“Penelope, Studie über das Warten (2021/2022)” is a monodrama in one act. The music is composed by the Spanish composer Helena Cánovas i Parés for the TRIO vis-à-vis. The role of Penelope will be interpreted by Natasha López (soprano). In addition to interpreting the music, the cellist (Hugo Rannou) and flautist (Guillermo González) will also take on the acting roles of the suitors. The monodrama is conceived as video art that will be recorded between June 4th and 7th, 2022 and later put online. The duration of the monodrama is between 15 and 20 minutes.
Regarding the burial shroud that Penelope weaves and unravels day and night, the composer Helena Cánovas i Parés, together with the video artist Maike Müller, will work with the parameter of “time” and the musical material in such a way that, as a composition technique, they will create a musical structure that composes at the same time and is broken down so that the concept of time is relativized in relation to what was composed in the past, reversed in the present and composed in the future.
The monodrama questions the traditional figure of women as a faithful wife and shows the other side of the coin of this figure: self-denial, willingness to make sacrifices, renunciation. Which female model prevails today in this regard?
IDEA and CONCEPT: Natasha López
COMPOSER: Helena Cánovas
DRAMATIC ADVISER: Maike Graf
*Funded by Ministerium für Wissenschaft, Forschung und Kunst, Deutscher Komponistenverband and Deutscher Musikrat.
23 APRIL 2022, STUTTGART
18 BRIEFE UND EINE FABEL AUS BELARUS, von Maryna Mikhalchuk mit Texten aus Camel Travel von Volha Hapeyeva
Belarusian President Lukashenko claimed a landslide victory after the August 9, 2020 election, while the opposition candidate lost by surprise. The opposition around Svetlana Tichanovskaya then publicly described the events as election fraud, and numerous independent election observers also classified the results as fake. Women like Tichanovskaya, Maria Kalesnikava, as well as activists and supporters, quickly became symbolic figures of the Belarusian protest movement. In wedding dresses and with red flowers, they shaped media images in the West, but in their speeches they undermined the government’s classically passive roles assigned to women. Scores of people associated with the protests were promptly forced out of the country or imprisoned in the fall of 2020. With 18 Letters and a Fable from Belarus, Maryna Mikhalchuk blends documentary set pieces from the recent Belarusian past with Volha Hapeyeva’s autobiographical novel Camel Travel. In her debut, published in 2021, the author describes growing up in (post-)Soviet Minsk in the late 1980s and early 1990s. Between braided hairstyles, rhythmic gymnastics and pelmeni, the author already indicates the path to her own politicization from a child’s perspective – and gives references to the generation of Belarusians who took to the streets in August 2020 and today are sending letters from prison. The Russian invasion of Ukraine on February 24, 2022 and the arrival of hundreds of refugees in Stuttgart also made the director reconsider the content of the material. In addition, Mikhalchuk, who was born in Belarus, invited refugees from Ukraine to be part of the production. So the stories about Captivity and democratic resistance are now interpreted by eight Ukrainian women – Khrystyna Dovbysh, Tetiana Humeniuk, Iryna Iusukhno, Hanna Krzheminska, Rimma Musiychuk, Iryna Scherbak, Maryna Vlasenko and Tetiana Ziubanova – adding an additional direct documentary dimension to the evening level expanded.
STAGE DIRECTOR, Maryna Mikhalchuk
STAGE, Hannah Zickert
LIGHT, Stefan Maria Schmidt
COSTUME, Natalie Nazemi
DRAMATURGY, Lena Meyerhoff
ACTRESS, Therese Dorr
MUSIC, Natasha López, Guillermo González (from TRIO vis-à-vis)
KAMMERTHEATER, FOYER
8 PM
More information: https://www.schauspiel-stuttgart.de/spielplan/a-z/18-briefe-und-eine-fabel-aus-belarus/
More performances:
25.04.2022
13.05.2022
24.05.2022
29.05.2022
05.06.2022
07.06.2022
PREVIEW:
20 MARCH 2022, LAUFFEN AM NECKAR
Socrates und Alcibiades
A premiere for 16 singers of the Opera Choir Stuttgart by the composer Stephan Storck
Sopran IV
11.30 AM
14 DECEMBER 2021, STUTTGART
Das Herz in den Händen
Solidarity concert for Maria Kalesnikava. HMDK in cooperation with “Musik der Jahrhunderte” and “Die AnStifter – InterCulturelle Initiativen e.V.”
TRIO vis-à-vis plays
„Vestigios (de tus…)“ (2018/2019)*, von Catharina Backman (*1961).
Lyrics von Natasha López
*Commissioned for TRIO vis-à-vis
Concert hall, University of Music Stuttgart
7 PM
More Information: Hochschule für Musik und Darstellende Kunst Stuttgart
17 NOVEMBER 2021, STUTTGART
noVOICE – noBODY, a music and dance performance for 3 musicians and 3 dancers
FESTIVAL MADE IN STUTTGART
What happens to a person when his voice, freedom of expression is withdrawn? In noVOICE – noBODY, Alexandra Mahnke (choreography) and Remmy Canedo (composition -contemporary music-, live electronics and video performance) explore together with the TRIO vis-à-vis and a dance group the different types of power relationships and their respective scope for freedom and bondage of individuals among themselves and projected on society. The title (“voice”, “body”, “nobody”) not only stands for individual articulation with the voice and individual body, but also for the right to have a say or society. Through an improvisational approach or action reaction between music and dance, our performance noVOICE – noBODY questions social templates, clichés, taboos and stereotypes of today’s society.
Theaterhaus, T2, Stuttgart
7 PM
Artistic direction and choreography: Alexandra Mahnke
Music, video performance and live electronics: Remmy Canedo
Idea, concept and project management: Natasha López
TRIO vis-à-vis and dancers:
Alexandra Mahnke: dancer
Marija Skender: dancer
Yahi Nestor Gahè: dancer
Funded by:
OCTOBER – NOVEMBER 2021, Bunker at Diakonissenplatz, STUTTGART
VIRUCIDE, a digital and overdigital Music theatre performance with Performer, Puppet Theatre and New Media
From May until October I will be working on the creation of this virtual opera together with the composer and sound artist Remmy Canedo and my TRIO vis-à-vis.
The music theatre performance VIRUCIDE describes the dramatic story an an acellular microscopic infectious agent (SARS-CoV-2) from a hybrid scientific and artistic point of view. It is inspired by the true events and evolution of COVID-19 in recent years. Due to its intrinsic destructive nature and its mutated properties, its behavior towards other cells takes on a dramatic character that could be equated with certain aspects of human relationships. This will create a microbiological dramaturgy that resonates with the audience, who will be able to identify similar behaviors on the psychological and emotional level of the human being.
The video and sound recording of VIRUCIDE will take place between October 25 and November 7 2021. The composer and sound artist Remmy Canedo will compose the music and the live electronics. Together with TRIO vis-à-vis we will work out the music for months and create a synergy between art, human being and technology with new spaces, as the underground bunker. Our goal is to create a video, in which we present the project in order to premiere the LIVE Version in November 2022.
MUSIC/ LIVE ELECTRONICS/ VIDEO: Remmy Canedo
IDEA & CONCEPT/ PROJECT MANAGEMENT/ ARTISTIC DIRECTION: Natasha López
LIBRETTO: Remmy Canedo & Natasha López
CAMERA: Patricio González
MUSICIANS: TRIO vis-à-vis (Guillermo González, flute; Natasha López, voice; Hugo Rannou, violoncello)
Funded by: Kulturamt Stuttgart, Ministerium für Wissenschaft, Forschung und Kunst Baden-Württemberg and Musikfonds e. V.:
23 JULY 2021, STUTTGART
UNENDLICHE FREIHEIT?
Aspects of “Infinite Freedom” will be examined in the new TRIO vis-à-vis project as part of the “Südseite Nachts” at the Theaterhaus Stuttgart. The two composers Silvia Rosani (Italy) and Alberto Bernal (Spain) approach the topic from a similar point of view. They question the relationships and boundaries between word, image and sound as well as the socio-political dimension of the composition process.
It is about a new role assignment of artists and audience, the abolition of the existing hierarchies, the paradox of infinite freedom in our western neoliberal society, the boundary between the individual and the mass movements and finally the connection between poetry and economy, of free will and coercion and of individual and collective actions.
PROGRAM:
Tatsiana Khomich: Report about the Situation in Belarus
Alberto Bernal: Impossible translations #5PREMIERE, for flute and video (2021)
Commissioned for TRIO vis-à-vis*. Dedicated to Maria Kalesnikava
Alberto Bernal: Made in China/ EpitaphPREMIERE, for soprano, violoncello, flute und audiovisual projection (2021), based on a text by the poet, blogger and Foxconn employee Xu Lizhi.
Commissioned for TRIO vis-à-vis*
Silvia Rosani: Ai Limiti delle soglie II: con moto trasversale
for Soprano, violoncello, flute, composer and hybrid electroacoustic instruments (2019/20)
Alberto Bernal: (neo)liberal systems #2 «crescendo»
for arbitrary cast and live electronics (2019)
Theaterhaus, T3, Stuttgart
7 PM
More Information: Der Sommer in Stuttgart
*Funded by Musikfonds e.V. by means of the Federal Government Commissioner for Culture and the Media
17 JULY 2021, STUTTGART
THE TIDES SOUL
TRIO vis-à-vis plays works of Ivan Fedele, Brian Ferneyhough and Huihui ChengPREMIERE
As part of the concert series by S-K-A-M e. V.
8 PM
Funded by: S-K-A-M e. V. and Deutscher Komponistenverband e. V.
4 FEBRUARY 2021, STUTTGART
ECLAT FESTIVAL
Awards Concert for the 65th Composition Prize* of the City of Stuttgart
Isabel Mundry: Geträumte Räume
for four trumpets (1999)
Matthias Kranebitter: pitch study no.1 / contra violin
for violin and stereoplayback
Laudatio von Prof. Martin Schüttler
Presentation of the composition prize to Matthias Kranebitter and Laure M. Hiendl
Laure M. Hiendl: Ten Bullets Through One Hole
for two voices, elektronic and video
Marco Blaauw and Markus Schwind, trumpets
Gunde Jäch, violin
Viktoriia Vitrenko and Natasha López, voices
Live from Theaterhaus Stuttgart
6.30 PM
7 FEBRUARY 2021, STUTTGART
ECLAT FESTIVAL
Awarding of the human rights prize of the Gerhart and Renate Baum Foundation to Maria Kalesnikava (BELARUS)
TRIO vis-à-vis plays Ai Limiti delle soglie II: con moto trasversale, of Silvia Rosani.
For Sopran, Violoncello, Flute, composer and hybrid elektroacoustic Instruments*
Live from Theaterhaus Stuttgart
5 PM
*with the support of the Landesbank Baden-Württemberg Foundation
5. DEZEMBER 2020, STUTTGART (GERMANY)
INDIVIDUUM—>KOLLEKTIVUM*
As part of the concert series of S-K-A-M e. V.
TRIO vis-à-vis plays works of Charlotte Seither, Sophie Pope (PREMIERE) and Valery Voronov (PREMIERE)
As part of the concert series of the Stuttgarter Kollektiv für Aktuelle Musik e. V. (SKAM e. V.), which will take place from November 14th to December 5th in various concert venues in Stuttgart, the TRIO vis-à-vis will interpret two world premieres by Sophie Pope and Valery Voronov and other pieces of contemporary music.
Vinko Globokar’s piece Individuum <—> Kollektivum serves as inspiration and title of the project to deal with the topic “people and society”, since this conception includes socio-critical statements and humanistic ideals, which inevitably leads to think about the concepts of “system” and “mechanism”.
The concept “system” (ancient Greek sýstēma “whole composed of several individual parts”) is generally referred to a delimitable, natural or artificial “structure”, which consists of various components that can be considered as a common whole due to certain ordered relationships among themselves. Society can also be considered as consisting of variable and different people.
The two premieres by Sophie Pope and Valery Voronov will use artistic means to address the following questions: “What role do people play in society? Where does the individual end and where does the collective begin? Which mechanisms does society use as a functional system?” Both premieres are conceived as short musical theater pieces.
Mechanisms such as filtering and mutation processes (in Monadologie XVI ‘Solfeggio’,by Bernhard Lang), dehumanization of the performer (in Corporel, by Vinko Globokar) and various levels of silence and its power (in other Weitere Machtart von Stille, by Charlotte Seither) thoroughly address the individual in relation to the collective and social systems.
The aim of our project is the collaboration of musicians, composers and audience to view our society today as a system and its mechanisms through a vision and musical experience.
*Due to the COVID pandemic and the lockdown, the project was finally included as an online format and is available on the S-K-A-M e. V. to see.
Funded by:
28. NOVEMBER 2020, STUTTGART (GERMANY)
SILBEN VOM GLÜCK*
As part of the concert series of S-K-A-M e. V.
NATASHA LÓPEZ sings and interprets works of Charlotte Seither, Remmy Canedo, Jennifer Walshe, Carola Bauckholt and Samuel Beckett.
This project summarizes various interpretations and glances about ‘happiness’. Different situations and scenes of women’s happiness and unhappiness are presented on stage, in which she questions herself as a person and her goal in life and in society.
Stuttgart
*Due to the COVID pandemic and the lockdown, the project was finally included as an online format and is available on the S-K-A-M e. V. to see.
Funded by:
26.02.2020, MADRID (SPAIN)
RECORDING of RECITÀTIONS, GEORGE APERGHIS
Nr. 8, 11 & 14
STUDIO B
RIVAS VACIAMADRID, MADRID
25.11.2019, HEILBRONN (GERMANY)
Solo vocal music concert at the “Perspektiven Heilbronn”, concert series for contemporary music
Works of Luciano Berio, George Aperghis, Charlotte Seither, Mauricio Kagel, Huihui Cheng, Sophie Pope and Lothar Heinle (PREMIERE)
Städtische Museen Heilbronn
7.30 PM
9.11.2019, SCHONDORF (GERMANY)
TRIO vis-à-vis plays works of Lachenmann, Ulrich Kreppein, Ivan Fedele, Beat Furrer, Kaija Saariaho and Catharina Backmann
8 PM
5. 08. 2019, JACA (SPAIN)
EXÓTICA, by Mauricio Kagel
With ENSEMBLE NEOPERCUSIÓN
Jaca Cathedral
10 PM
25., 26., 27. JULY 2019, STUTTGART (GERMANY)
noVOICE – noBODY: a music and dance Performance for 3 musicians and 3 dancers
MUSIC/ LIVE ELECTRONICS/ VIDEO: Remmy Canedo
ARTISTIC DIRECTION and CHOREOGRAPHIE: Alexandra Mahnke
Idea & Concept/ Project Management/ Production: Natasha López
TRIO vis-à-vis (Maria Kalesnikava, Flute and Alto Flute; Natasha López, Sopran; Hugo Rannou, Violoncello)
Dancers (Yahi Nestor Gahé, Alexandra Mahnke, Marija Skender)
Theaterhaus P1, Musik der Jahrhunderte
7.30 PM
A production of:
Funded by: Landeshauptstadt Stuttgart, Kulturamt, LBBW BANK Stiftung and Stuttgarter Kollektiv für Aktuelle Musik e. V.
With the kind support of: Musik der Jahrhunderte Stuttgart e. V., GEDOK Stuttgart and DUNDU
8.06.2019, LEIPZIG (GERMANY)
WAVE GOTHIK TREFFEN
TRIO vis-à-vis plays works of Ivan Fedele, Andre Caplet, Guilllaume Connesson, J. S. Bach und Giacinto Scelsi
Alte Handelsbörse
1.30 PM
11.05.2019, STUTTGART (GERMANY)
GAME ON
A project as part of the concert series for contemporary music (KRAM), in cooperation with SKAM (Stuttgarter Kollektiv für Aktuelle Musik).
GAME ON is an interactive project between musicians and audience, which will play an important and active role in the concert, breaking with the classical concert scheme in which the spectator is mostly passive.
TRIO vis-à-vis plays works of John Cage, Sebastian Hoch, Konstantin Yaskov and Catharina Backman
7.30 PM
14.04.2019, SUECA (VALENCIA, SPAIN)
STIMMUNG, K. Stockhausen
With the Ensemble Forum Neue Vokalmusik
12 PM
11.04.2019, ISTANBUL (TURKEY)
Istanbul Technical University Centre for Advanced Studies in Music
Presentation of the paper “Transcultural aspects in Stimmung, by Karlheinz Stockhausen” at the Conference The Multivalent Voice in Transcultural Music-Making
6.04.2019, HELSINGBORG (SWEDEN)
Dunkers Kulturhus
TRIO vis-à-vis plays works of Lachenmann, Furrer, Aperghis, Worsaae, Ferneyhough at the concert serie at the Dunker Kulturhaus
4 PM
8.03.2019, STUTTGART (GERMANY)
DON’T TRY
A project of InterAKT Initiative e. V.
Theaterhaus, Stuttgart
7 PM
28.02.2019, MADRID (SPAIN)
SOLO CONCERT at the concert series VANG. Músicas en Vanguardia
Natasha López + Coro de Cámara de Madrid: a solo concert of contemporary vocal music in collaboration with the Madrid Chamber Choir
Works of Luciano Berio, Kaija Saariaaho, George Aperghis, Giacinto Scelsi and a premiere of Helena Cánovas
Within the concert series: VANG. Músicas en Vanguardia:
VANG 5. presente pasado presente
Auditorio CentroCentro
7.30 PM
25.11.2018, BREMEN (GERMANY)
PORTRAIT CONCERT: BÁRA GÍSLADÓTTIR
Collaboration with Ensemble New Babylon
Künstlerhaus Güterbahnhof Bremen / Tor 40
6 PM
08.12.2018, STUTTGART (GERMANY)
TRIO vis-à-vis plays a premiere of the russian composer Denis Pisarevskij
University of Music Stuttgart
14. 06. 2018 STUTTGART (GERMANY)
THE STORIES
Works of John Cage, Adriana Hölszky, Ferneyhough, Poleukhina and Krebs
Kunstraum Stuttgart
7 PM
26. 05. 2018, STUTTGART (GERMANY)
WORDS AND WATER
FLUXUS-LITERATURE-PERFORMANCE
Together with Urs Klebe
Fluxus – Temporary Concept Mall
5.30 PM
21. 05. 2018 LEIPZIG (GERMANY)
NATIVE OUTSIDERS
Music Theater with Ensemble New Babylon
Der Andere, by Moritz Eggert and works of Anton Wassiljew
Alten Handelsbörse
10 PM
28. 04. 2018, HAMBURG (GERMANY)
STIMMUNG, K. Stockhausen
Internationales Musikfest Hamburg
in cooperation with the Elbphilharmonie, Hamburg
St. Katharinen, Hamburg
8 PM
25. 03. 2018, MECKENBEUREN(GERMANY)
STABAT MATER, by Pergolesi
12., 13., 14. 03. 2018, BREMEN (GERMANY)
12. 03. 2018 PREMIÈRE
NATIVE OUTSIDERS
Music Theater with Ensemble New Babylon
Der Andere, by Moritz Eggert
N.N., by Anton Wassiljew
7.30 PM
06. 12. 2017, HEILBRONN (GERMANY)
La testa d’adriane, a theater piece for soprano and accordion by R. Murray Schafer and pieces of Padrós
Ulrich Carmen Schlumberger-Ruiz, Accordeon
Natasha López, Sopran
Das Museum im Deutschhof
7.30 PM
More Information: Städtische Museen Heilbronn
25.11.2017, STUTTGART (GERMANY)
INSIDE OUT
This project deals with the topics of perception and boundaries. In a dialogue between violin and voice, the singer Natasha López, herself accompanied by her violin, expresses the bonds and connections between the interior and the exterior. In various compositions questions about perception are asked and how far it plays a role in the borders between people and reality, between cultures and even countries. Where are the boundaries between inside and outside? What happens when people, cultures or countries cross borders? Do people have different concepts about where the limits are? At what point do you feel overwhelming?
A Solo project conceived, sung and played on the violin by Natasha López
Works of Sophie Pope, Silvia Rosani, Remmy Canedo and Huihui Cheng
8.11.2017, STUTTGART (GERMANY)
Works of I. Albéniz, E. Granados, F. G. Lorca and M. Quiroga Losada
Magdalena Cerezo Falces, Piano
Natasha López, Sopran
María del Rocío López, Guitar
Haus der Wirtschaft Baden-Württemberg
7 PM
More Information: Stuttgarter Buchwochen
04.10.2017, COLOGNE (GERMANY)
BEAT & BRAIN PROJECT – VOCAL PREMIERE WORKS
La otra concertación, by Eduardo Cáceres (Sopran, E-Bass, Tablas & Live-Electronic)
Lax-on, by Daniel Osorio, (Sopran, Piano, 2 drummers, dancers & Live-Electronic)
Ecuatorial, by Mauricio Córdova, (Sopran, 2 drummers, E-Bass & dancers)
Mano a mano, by Ramón Gorigoitia (Sopran, Piano, 2 drummers, E-Bass, dancers & Live-Electronic)
8 PM
15.10.2017, WEINGARTEN (GERMANY)
ENSEMBLE HÖRWERK
Pieces of Richard Spaeth in just intonation music at the Vernissage of the Rottenburg-Stuttgart Diozese Akademy
Rottenburg-Stuttgart Diozese Akademy
11 AM
15.10.2017, MECKENBEUREN (GERMANY)
LA TESTA D’ADRIANE, a theater piece for soprano and accordion by R. Murray Schafer and pieces of Padrós
Ulrich Carmen Schlumberger-Ruiz, accordion
Natasha López, soprano
4 PM
9.09.2017, GÜLTLINGEN (GERMANY)
ENSEMBLE HÖRWERK
Music in just entonation. Works: Flow of knowing (Rafael Nassif) and Ricercar and Decay (Wolfram Oettl)
Die Datscha
5 PM
01. 07. 2017, HEIDENHEIM (GERMANY)
SEXTUOR: L’Origine des espèces, by George Aperghis
7 PM
18.06.2017, STUTTGART (GERMANY)
EMPOR, by Luis Codera Puzo, for solo voice, 3 flutes, 3 contrabasses and 3 second voices
GERMAN PREMIERE
Collaboration with Crossing Lines Ensemble
Theaterhaus Stuttgart, T2
6 PM
More Information: Der Sommer in Stuttgart
18.05.2017, BARCELONA (SPAIN)
EMPOR, by Luis Codera Puzo, for solo voice, 3 flutes, 3 contrabasses and 3 second voices
WORLD PREMIERE
Collaboration with Crossing Lines Ensemble
Auditori Barcelona – SALA 2
8 PM
01., 14., 16.04. 2017, STUTTGART (GERMANY)
NABUCCO
OPERA CHOIR STUTTGART
7.30 PM
03., 14., 20., 24.03. 2017, STUTTGART (GERMANY)
NABUCCO
OPERA CHOIR STUTTGART
7.30 PM
25.02.2017, DURHAM (ENGLAND)
FORUM NEUE VOKALMUSIK sings STIMMUNG of Karlheinz Stockhausen
7.30 PM
18. 02. 2017, STUTTGART (GERMANY)
NABUCCO
OPERA CHOIR STUTTGART
7.30 PM
11., 12. 02.2017, MADRID (SPAIN)
WORKSHOP
The voice in New Music. Notation and Realization of Extended Vocal Techniques/La voz en la música contemporánea. Notación y realización de técnicas vocales contemporáneas
04.02.2017, STUTTGART (GERMANY)
TRIO vis-à-vis plays at ECLAT FESTIVAL
Echoräume, of Ulrich Kreppein for four simultaneous chamber music ensembles
WORLD PREMIERE
Theaterhaus/ T 2
8.30 PM
25.11.2016, STUTTGART (GERMANY)
Works of Morton Feldman (Voices and cello) and Samuel Beckett (Quad)
08. 11. 2016, STUTTGART (GERMANY)
…AUF’S NEUES…
TRIO vis-à-vis plays works of Jesse Broekman, Scelsi, Fedele, Ambrosini, etc.
Haus der Musik im Fruchtkasten
7 PM
05. 11. 2016, STUTTGART (GERMANY)
Verkörperung des Schreis – Embodiment of the scream
LIVE PERFORMANCE about some works of FRANCIS BACON at the exhibition
INVISIBLE ROOMS
Concept and performer, Natasha López
9.15 and 10.15 PM at Staatsgalerie’s Lounge and at 11.15 PM at the exhibition
22. 10 2016, GÜLTLINGEN (GERMANY)
ENSEMBLE HÖRWERK
Works of Rafael Nassif, Wolfram Oettl and Richard Spaeth
4 PM
9. 10. 2016, STUTTGART (GERMANY)
Ein Fest für die Musik zum 60. Geburtstag von Angelika Luz
Aria, John Cage
5 PM
24. 09. 2016, STUTTGART (GERMANY)
ENSEMBLE HÖRWERK
Works of Rafael Nassif, Wolfram Oettl, N. Andrew Walsh and Yiran Zhao
Projektraum LOTTE (Land of the Temporary Eternity)
LOTTE
7.30 PM
2. 09. 2016, NAESTVED, (DENMARK)
SUSÅ FESTIVAL
TRIO vis-à-vis plays works of Lachenmann, Nicolai Worsaae and Jesse Broekman: temA, Replication #1 and and anew
Groennegades Kaserne Kulturcenter
5 PM
More Information: Suså Festival
2.08.2016, DARMSTADT (GERMANY)
OPEN SPACE FOR MICROTONAL MUSIC
Ensemble Hörwerk invites you to listen to different pieces of microtonal vocal music and therefore offers a short lecture and an open discussion.
48. INTERNATIONAL SOMMER COURSES OF NEW MUSIC
2. 07. 2016, STUTTGART (GERMANY)
en courrant – Kietzklang
A total artistic intervention project around the Hölderlinplatz in west Stuttgart
Hölderlinplatz
11 AM to 5 PM
31.03.2016, COPENHAGEN (DENMARK)
TRIO vis-à-vis plays temA at a Lachenmann Lecture Recital and gives a masterclass about new composing techniques in contemporary music
The Royal Danish Academy of Music
4.30 PM
18.03.2016, STUTTGART (GERMANY)
Duo López-Goshkieva
Spanish Songs and Music (Guridi, Granados, Toldrá, Montsalvage, etc.)
“Im Klösterle” Weil der Stadt, Stuttgart
7 PM
13. 01. 2016, ESSLINGEN (GERMANY)
SEXTUOR: L’Origine des espèces, by George Aperghis
Esslingen
8 PM
05. 12. 2015, STUTTGART (GERMANY)
PERSPEKTIVEN. LACHENMANN FESTIVAL
TRIO vis-à-vis plays Helmut Lachenmann’s work temA and a premiere of the spanish composer Alberto Hortigüela
Kammermusiksaal, University of Music Stuttgart
5 PM
05. 10. 2015, STUTTGART (GERMANY)
ENSEMBLE HÖRWERK
Akademie der Diözese Rottenburg
7.30 PM
03. 10. 2015, SEVILLA (SPAIN)
Schubert und die Moderne, a concert part of the Festival Mosaico Sonoro, la música y la palabra
Works of Schubert, Hindemith, Schönberg and Strauss
Piano, Marina Goshkieva
Soprano, Natasha López
Fundación Caja Sol, Sevilla
8.30 PM
03. 09. 2015, STUTTGART (GERMANY)
ENSEMBLE HÖRWERK
Die Datscha Concert
5 PM
03. and 04. 07.2015, STUTTGART (GERMANY)
(zwischen e und f)
A Stringinstallation and concept of Michael Bach Bachtischa. In cooperation with the Stadtbibliothek Stuttgart and EXVOCO Stuttgart
Stadtbibliothek
9 PM
21.06. 2015, STUTTGART (GERMANY)
18 STUNDEN ZUR ANFECHTUNG DER SOMMERWENDE
Open air avant-garde art and music exhibition
STIMMUNG,K. Stockhausen
FLUXUS AKTIONEN von Nam June Paik, George Brecht, Alison Knowles, Ken Friedman, etc.
URSONATE, Part I, Kurt Schwitters
Höhenpark Killesberg
5 AM to 11 PM
More Information: Forum Neue Vokalmusik and K-R-A-M
31.05.2015, STUTTGART (GERMANY)
LA TESTA D’ADRIANE, R. Murray Schafer
Ulrich Schlumberger-Ruiz, Akkordeon,
Solitude Soirée, Schloss Solitude
5 PM
17.05. and 04.06.2015, STUTTGART (GERMANY)
SEXTUOR: L’Origine des espèces, George Aperghis
Naturkundemuseum, Stuttgart
7 PM
08.05. 2015, STUTTGART (GERMANY)
FACE TO FACE
A concert encounter with TRIO vis-à-vis, NOISE-BRIDGE and TRIO FORTAGNE with works of Dusapin, Neil Thomas Smith, Nicolai Worsaee, Drake Ralph Andersen, Chris Fischer-Lochhead and improvised music.
FACE TO FACE, is a WORLD PREMIERE composition for the Ensembles TRIO vis-à-vis, NOISE-BRIDGE and TRIO FORTAGNE of the composer Marco Bidin.
Musik der Jahrhundert, Südseite Nachts
8 PM
09. 05. 2015, VENICE (ITALY)
Venice Biennale. German Pavilion
In collaboration with the artist Olaf Nicolai, a vocal improvisation about Luigi Nono’s “Un volto, e del mare/ non consumiamo Marx” and “The Capital” of Karl Marx.
Venice Biennale. German Pavilion
1.30 PM
24.04.2014, STUTTGART (GERMANY)
ENSEMBLE HÖRWERK
20. 03. 2015, REUTLINGEN (GERMANY)
SEXTUOR: L’Origine des espèces, George Aperghis
Spitalhof
8 PM
05. 02. 2015, ESSLINGEN (GERMANY)
Resonanzmusik I
Ulrich Schlumberger, Akkordeon
Natasha López, Sopran
Werke von Rameau, Cage, R. Murray Schafer, Hölszky
Stadtbücherei Esslingen, Kutschersaal
7.30 PM
More Information: TonArt 2015
05. 12. 2014, STUTTGART (GERMANY)
TRIO vis-à-vis
Works of Silvia Rosani and text of Kinga Toth
Hungarian Institute
8 PM
13.11. 2014, WEIMAR (GERMANY)
ENTREMEDIO/ DAZWISCHEN
A presentation of Ibero-American composers living abroad, a concert about living between cultures and identities.
World premiere works of Javier Party, Óliver Rappoport and others
Fürstensaal HfM FRANZ LISZT WEIMAR
7 PM
More Information: Ensemble Iberoamericano
14.11.2014, BERLIN (GERMANY)
ENTREMEDIO/ DAZWISCHEN
A presentation of Ibero-American composers living abroad, a concert about living between cultures and identities.
World premiere works of Javier Party, Óliver Rappoport and others
Universität der Kunst, Berlin
7 PM
More Information: Ensemble Iberoamericano
28. 08. 2014, NOVALJA (CROATIA)
NOVALIS – MUSIC AND ART FESTIVAL
…die Göttliche Dunkelheit…
PROGRAMM:
Jagoda Szmytka (*1982): Sky-me, type-me (2011)
Georges Aperghis (*1945): Récitation Nr. 11 (1977/ 78)
Misato Mochizuki (*1969): Halai (2009)
Karin Rehnqvist (*1957): David’s Nimm (1983)
Kaija Saariaho (*1952): From the Grammar of Dreams (1988/ 1989)
Sidney Corbett (*1960): Die Göttliche Dunkelheit (2005)/ Gebet (2002)
Sanja Lasic (*1971): Itching (2013)
More Information: https://novalisconcept.hr
18. 05. 2014, STUTTGART
Happening and Allan Kaprow: Kunstaktion
2 PM
25. 04. 2014, BARCELONA (SPAIN)
Festival Mixtur
Dadayamasong (Leon Schidlowsky), Unity (Aurélio Edler-Copes) WORLD PREMIERE), Sexualidad brutal (Ilias Rachaniotis) (WORLD PREMIERE)
Fabra & Coats
8 PM
More Information: Ensemble Iberoamericano
26. 04. 2014, BARCELONA (SPAIN)
Festival Mixtur
STIMMUNG, (1968), Karlheinz Stockhausen
Fabra & Coats
8 PM
More Information: Forum Neuevokalmusik
16. 11. 2013, STUTTGART
Internationales Musiktheater BABEL Performance
In collaboration with the Akademie Schloss Solitude
8 PM
30. 11. 2013, STUTTGART
A concert of contemporary music. With art voice music, poetry performance, etc.
Kunstraum34
8 PM
More Information: Klang Raum
06. and 08. 10. 2013, STUTTGART
Die fette Seele (WORLD PREMIERE), musical theatre by Klaus Lang and Emilio de’ Cavalieri’s Rappresentazione di anima e di corpo (1600)
Leonhardskirche
7 PM
08. 08. 2013, KÜRTEN
03. 08. 2013 – 11. 08. 2013 Stockhausen Course
STIMMUNG, (1968), Karlheinz Stockhausen
Forum Neue Vokalmusik at the Stockhausen Course
Sülztalhalle
8 PM
31. 07. 2013, SCHWÄBISCH GMÜND
Die fette Seele (WORLD PREMIERE), a musical theatre by Klaus Lang and Emilio de’ Cavalieri’s Rappresentazione di anima e di corpo (1600)
Johanniskirche
5 PM
22. 06. 2013, POLLING (OBERBAYERN)
Alma mia voce, voice quartet. An improvised concert in pure intonation
Christie Finn, soprano
Natasha López, soprano
Richard Spaeth, tenor
N. Andrew Walsh, bass
Stiftskirche
8 PM
08. 04. 2013, STUTTGART
Der Turm zu Babel (2002), Mauricio Kagel
Stadtbibliothek
6 PM
More Information: KlangRaumGeist
15. 03. 2013, 18. 03. 2013, STUTTGART
What’s happening? Das Museum in der Stadt,Fluxus-Performance: Drip Music, by George Brecht and Zen for walking, by Nam June Paik.
Oper Foyer
7 PM
18. 01. 2013, STUTTGART
Werkstattkonzert
Concert hall, University of Music Stuttgart
8 PM
07. 12. 2012, STUTTGART
ECHTZEIT | werk_statt_festival. Works: temA (1968, Helmut Lachenmann) and Intimate Letters (WORLD PREMIERE) (2012, Neil Thomas Smith)
Concert hall, University of Music Stuttgart
8 PM
More Information: echtzeit | werk_statt_festival
27. 11. 2012, AACHEN
STIMMUNG, (1968) Karlheinz Stockhausen
Altes Kurhaus, GZM Klangbrücke
8 PM
More Information: Forum Neue Vokalmusik
29. 11. 2012, STUTTGART
neue töne open. 2. stuttgarter klangbüro festival für zeitgenössisches musiktheater
Works: temA (Helmut Lachenmann, 1968), TPIΓPAMMATON* (N. Andrew Walsh, 2012), Anastasis by Anetis Logothetis’s
Wilhelmspalais
8 PM
More Information: neue töne open
10. 11. 2012, STUTTGART
Cage to go
Eight solos for voice from Song books (1970), performance and voice
Gabi Lesch and Natasha López
Staatsgalerie
7 PM
12. 13. 14. 10. 2012, STUTTGART
Die drei Tode des Narziss: Unicorn (Malte Giesen) and Dunkler Frühling (Remmy Canedo) (PREMIERE)
Wilhelmspalais
More Information: Studio für Stimmkunst und Neue Musiktheater
14. 07. – 28. 07. 2012, DARMSTADT
Attendance and participation at the voice master classes of Donatienne Michel-Dansac
46. Internationale Ferienkurse für Neue Musik
30. 06. 2012, STUTTGART
Works of Marco Bidin, Margarete Huber, Luciano Berio, Russudan Meipariani, Wolfgang Rihm, Anton von Webern, Zender, etc.
Concert hall, University of Music Stuttgart and Haus der Geschichte
4 PM – 12 AM
More Information: Studio für Stimmkunst und Neue Musiktheater
22. 06. 2012, STUTTGART
ECHTZEIT | KONZERT
Works: Neues Stück, (PREMIERE)(Vincent Herrmann), for Sopran and Electronics, Uroni. Part III & IV (PREMIERE)(Davor Branimir Vincze)
Concert hall, University of Music Stuttgart
8 PM
More Information: echtzeit | werk_statt_festival
03., 04., 06. 05. 2012, STUTTGART
ICH, STUTTGART
Art-Wander-Route, by Studio für Stimmkunst and Neue Musiktheater at the Musikhochschule Stuttgart
Conception of Natasha López and Ninel Çam.
4 PM