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la Biennale di Venezia
Main Visual Music EN (new)


Three chamber operas

1 | 2 |

Friday 24 September
Teatro Piccolo Arsenale
6:00 p.m.
FREIZEITSPEKTAKEL (2010, 45’) world premiere
music and video Hannes Seidl and Daniel Kötter
Neue Vocalsolisten Stuttgart-
soprano Susanne Leitz-Lorey
mezzo-soprano Truike van der Poel
tenor Martin Nagy
baritone Guillermo Anzorena
bass Andreas Fischer
produced by Musik der Jahrhunderte Stuttgart
with the support of Ernst Von Siemens Musikstiftung
7:30 p.m.
IL GRIDARIO (2010, 30’)  world premiere
for soprano, narrating voice, male chorus, live electronics and video
music Matteo Franceschini
libretto and video editor Andrea Franceschini
stage director Christian Gangneron
soprano Laura Catrani
actor Samuel Faccioli
Croz Corona chorus directed by Renzo Toniolli
drawings and animation Luca Franceschini
lighting design Nicolas Roger
sound engineer Sébastien Naves
set design Thierry Leproust
costumes Claude Masson
computer and live electronics Matteo Franceschini
produced by La Biennale di Venezia
with the support of the Provincia Autonoma di Trento
9:00 p.m.
EN LA MEDIDA DE LAS COSAS (2010, 30’) world premiere
music César Camarero
written by María Negroni
stage director Raúl Arbeloa
soprano Sarah Maria Sun
piano Alberto Rosado clarinet Carmen Domínguez viola Ana María Alonso cello David Apellániz
live cinema Things Happen
produced by Musicadhoy Madrid
commissioned by La Biennale di Venezia, Musik der Jahrhunderte Stuttgart and Musicadhoy Madrid as part of the ENPARTS – European Network of Performing Arts project
with the support of the Culture Programme of the European Union

Hannes Seidl with Daniel Kötter, Matteo Franceschini, and César Camarero are the authors of three chamber operas, three contemporary experimental works which introduce visual form as a dramaturgical element. Commissioned by the Biennale di Venezia, Musicadhoy of Madrid and Musik der Jahrhunderte of Stuttgart as part of the ENPARTS project (European Network of Performing Arts), a network of collaborations with European local governments, institutions and festivals with which the Biennale promotes experimental performances, workshops, international study seminars and audio-visual documentaries, the three works will have their world premiere performance in Venice and will tour on the European circuit.
The evening begins with the experimentation by German duo Hannes Seidl and Daniel Kötter, respectively musician and video artist (winner in 2008 of the Falsche Arbeit in Stuttgart). Freizeitspektakel addresses today’s world, where the concept of free time - which also contemplates the work of art, historically considered as entertainment – and the concept of work time are changing, and the distinction between the two fields is becoming increasingly blurred. The singers of the Neue Vocalsolisten dialogue on stage and interact with their own images projected onto the screens, like a play of mirrors that multiplies the views to infinity. Hannes Seidl and Daniel Kötter explain the ingenious mechanism behind the performance: “Five singers from the Neue Vocalsolisten spend ‘their’ free time gardening, cooking, walking, wrestling, practicing aqua fitness or having massages. Five moments of the recreational activities of each of them are projected onto five screens arranged on the stage, five stories that repeatedly intersect and in the end lead to a collective rehearsal of the piece that will be seen on stage. Even the opposite side is interpolated and becomes part of the film: the leisure manager, whose work brokers relaxation for others. The lifeguard who opens the swimming pool, activates the devices and checks the quality of the water, the croupier late at night after the casino closes, the DJ in the nightclub, the personal trainer and so on. Like a painting, developed full-scale on five screens, the leisure managers are framed inside their workplaces.
The five figures on the screen are doubled by the ‘real’ Neue Vocalsolisten on the stage. Drawing their sound material from the noises in the videos and the audio tracks produced by the leisure activities, the singers each interact with their own filmed double, in a pattern of noises written into each individual screen, sometimes reinforcing it sometimes drawing away from it. In a certain sense, even the singers manage the free time of the others. Hence, this video-opera-musical theatre becomes a Lied Recital with the ‘real’ Neue Vocalsolisten in competition with their alter egos in the video”.

In Gridario, Matteo Franceschini borrows from the eighteenth-century tradition of “bandi” and selects seven proclamations of the Prohibition in Trento which he imagines filtered through the fantasy and world view of a child. The work is also a way bring two distinct worlds face to face: the sophisticated world of nobiliary aristocracy which makes the rules, on the one hand, and the blunt and genuine world of the populace that suffers them, on the other. “Each of the two universes is represented by a group of singers, with different timbres, numbers and characteristics depending on the reality to which they are associated, not only from a musical, but also an aesthetic and theatrical point of view” (M.Franceschini). The conductor is Christian Gangneron, who has a long-standing experience in opera, with a repertory that ranges from Baroque to contemporary music, and is a familiar presence in Venice and at the Teatro La Fenice where he performed in Cherubini’s Anacreonte and Donizetti’s Pia De’ Tolomei.
For En la medida de las cosas, Spanish composer César Camarero chose the verses of Argentine poet Maria Negroni, famous throughout Latin America and translated in the USA, where she teaches literature at Sarah Lawrence College (Bronxville, New York), and the direction of young talent Raul Arbeloa, assistant to J.L.Raymond before becoming a director in his own right, staging A House Full of Music by John Cage, The Great Learning by Cornelius Cardew, Schwanengesang by Schubert. Repeatedly invited to comment on his works on the occasion of their debut, Camarero always insists that to do so would disappoint the expectations of the audience: “It’s like going to the movies to see a thriller, and while you are buying your ticket they tell you who the murderer is, and warn you that the character who looks suspicious will prove to be very nice in the end and save the girl”.