2017 __ Einer en las Villas

 

 

 

 

 

 

PROGRAM


EINER EN LAS VILLAS
contemporary opera as a participative and sustainable experience

 

MODULO 1 (Nov 2017)

Maria Porten, CH
lebelight, 2001/2017 (Span. version)

Georges Aperghis, F
from: récitations pour une voix seule, 1977/78

Motoharu Kawashima, JP
Das Lachenmann IV, 2017

 

 

 

IDEA


Einer nace del espíritu ludico que implica transformar obras de repertorio preexistentes en una nueva dramaturgia. De la misma manera que un jugador de dados, al volcar el cubilete, tiene la posibilidad de encontrar múltiples combinaciones de dados, las piezas en Einer se intercambian para adaptarse a nuevas situaciones dramaturgicas, lugares, condiciones de producción, manteniendo como elemento basico a sus protagonistas (ella, el y la otra), y la condición de “colectable” de las piezas musicales que la conforman, y que a su vez esta replicada en el espacio, constituido por la sumatoria de elementos aparentemente inconexos, pero que narran la historia de una pareja en conflicto.

Einer en barrios informales - La idea de llevar Einer fuera del entorno teatral esta intimamente ligada a nuestro deseo de expandir sus mismos principios ludicos involucrando a una población que no acostumbre frecuentar al sistema de producción operistico. La idea no es solo invitar a las personas de barrios marginales como espectadores, sino involucrarlos en la factura misma del proyecto como diseñadores, escenógrafos, vestuaristas, interpretes y personajes. Decidiendo sobre el orden, perspectiva, vestuario y dramaturgia.

(Pablo Maritano, stage director)

 

 

UMS 'n JIP with Pablo Maritano and Teresa Floriach, CETC Teatro Colon Buenos Aires 2015

 

 

BIOGRAPHIES

 

Pablo Maritano (director de escena). Nacido en Buenos Aires, es uno de los directores de escena argentinos más reconocidos de su generación. Egresó de la Escuela Superior de Bellas Artes Ernesto de la Cárcova y del Instituto Superior de Arte del Teatro Colón, donde actualmente dicta la carrera de dirección escénica. Es reconocido por sus montajes de clásicos de los siglos XVII y XVIII, tanto por su acercamiento al repertorio contemporáneo. En 2005 gana el concurso para dirigir La Zapatera Prodigiosa de Lorca para el Centro de Experimentación del Teatro Colón, obra que versiona junto a Marcelo Delgado. En Buenos Aires Lírica dirigió L'italiana in Algeri de Rossini, La Traviata, Serse, de Händel, todas destacadas por la asociación de cronistas del espectáculo; en 2010 dirigió Rigoletto, de Verdi, para el Teatro Argentino de la Plata, destacada la Asociación de Críticos Musicales de la Argentina. En 2011 dirigió La Ciudad Ausente de Gandini en el Teatro Argentino de La Plata, Il Mondo della Luna de Haydn en el Teatro Avenida, y el estreno sudamericano de Hippolyte et Aricie, de Rameau, ambas con el trabajo coreográfico de Carlos Trunsky. En 2012 dirigió una nueva producción de Die Entführung auf dem Serail en el Teatro Avenida, puesta que incluyó la revisión de la dramaturgia original encargada a Gonzalo Demaría, y que se constituyó en un notable éxito de público y crítica; la nueva producción escénica de La Casa sin Sosiego, de Gandini, por el encargo de la Secretaria de Cultura de la Nación, el estreno americano de Cachafaz, de Copi/Strasnoy, en el Teatro San Martin, la reposición de su producción del año 2010 de Così fan Tutte en el Teatro Argentino de La Plata. En el Teatro Municipal de Santiago de Chile dirigió Il Trovatore y Otello, de Verdi, ganadora del premio de la crítica chilena al mejor espectáculo del año. En 2014 dirigió Anna Bolena (producción documentada y vertida en forma de capítulos en la Televisión Argentina), y el estreno americano de Trust, de Falk Richter, coproducida por el Teatro Colón, Goethe Institut y la Bienal de Arte Joven de Buenos Aires. Al año siguiente dirigió el estreno sudamericano de Platée, de Rameau, en el nuevo Teatro Regional de Rancagua y en Buenos Aires, Otello, de Verdi, en el Teatro Argentino de La Plata, I due Foscari en el municipal de Santiago y Faust, en Rosario. Entre sus próximos compromisos están las reposiciones de Trust en San Pablo y Santiago, y dePlatée en Chile y México; el estreno The Human Emotions, en el Teatro Colon, Dixon Theatre en Nueva York y Basel, Le Malade Imaginaire, de Molière/Charpentier/Lully, una nueva producción de Il Barbiere di Siviglia para el Teatro Municipal de Rio de Janeiro y el estreno americano de Die Soldaten, de Zimmermann, en el Teatro Colón.

 

Maria Porten (composer). Geb.1939 in Neuss, Deutschland; Studium der Schulmusik, Germanistik und Philosophie in Köln; Musikwissenschaft und Dissertation bei Kurt von Fischer, Zürich (Zum Problem der Form bei Debussy, 1972); Lehraufträge an verschiedenen Schulen in Deutschland, USA, Zürich; seit 1985 Schweizerin. Ab 1995 eigene Kompositionen (privates Studium bei Daniel Mouthon und Werner Bärtschi). In ihren Konzertprojekten engagierte Maria Porten sich für aktuelle Problematik: z.B. Im Zeichen der Schildkröte, 2003, gegen den Irak-Krieg; in Advent der Tiere, 2004, gegen Massentierhaltungen; in 11.Juli 1995 protestierte sie gegen die ethnischen Säuberungen in Srebrenica; das Projekt Ferne Schritte. Nähe suchte und fand eine Begegnung mit fremden Kulturen, hier speziell Japan. In all diesen Unternehmungen war Javier Hagen ihr wichtiger Co-Komponist. 2006 wurde sie mit dem Preis der Vontobel Stiftung für Kreatives Alter ausgezeichnet. 2008 entstand die Porträt CD Es war einst ein Paradies. Maria Portens bisher erfolgreichstes Werk lebelight entstand auf Texte von Ivar Breitenmoser und verdankt seine Beliebtheit der musikalisch mitreißenden Interpretation des Duos ums n’ jip. 2009 erhielt Maria Porten von der Gesellschaft Rezital einen Kompositionsauftrag. In der Zusammenarbeit mit dem Lyriker Walter Studer entstand Zauber-Frauen-Zauber, das 2010 im Rahmen des Konzertes NeueneuemusiK zusammen mit pong-ping, der neuesten Arbeit von Werner Bärtschi, zur Aufführung gelangt. Ebenfalls zusammen mit Walter Studer komponierte sie & Männer, das nach seiner Uraufführung im privaten Rahmen 2011 zum ersten Mal öffentlich vorgeführt wird. Für März 2011 ist Stadtjespräch nach plattdeutschen Texten von Ludwig Soumagne und Gedichten aus Paroles von Jacques Prévert zur Uraufführung bereit. Im Herbst 2010 wurde auf Anregung von Maria Porten in Zürich der Verein für inszenierte Konzerte gegründet.

LEBELIGHT ist ein Fantasietitel, unter dem einige Gedichte von Ivar Breitenmoser zusammengefasst und von Maria Porten für Stimme, Blockflöten und Elektronik vertont werden. Wir hätten es gerne leicht im Leben: ein bisschen Sinn und ein paar Fantasien. Light heisst aber auch Licht und es kann plötzlich eindunkeln. Die Gedichte fangen oft ganz harmlos an, mit einer Bierbestellung z.B., und dann dämmert einem plötzlich etwas. Eine Einsicht? Oder tun wir einen Blick ins Absurde? Gibt es ein Gelächter oder albern wir nur etwas gescheit herum?Musikalisch stehen variierte Elemente neben ganz atonalen Passagen. Von den beiden Interpreten wird unkonventionelle gestalterischen Virtuosität verlangt, um bizarre Hektik, hintergründige Ironie und auch tieftraurige Enttäuschung zum Ausdruck zu bringen.

http://porten.ch

 

Motoharu Kawashima (composer), born 1972 in Tokyo, Japan, studied composition with Isao Matsushita and Jo Kondo at the Tokyo National University of Fine Arts and Music. He received his masters degree from the same university in 1999. Among the awards he has received are the Akiyoshidai International Composition Prize (1992), Darmstadter Stipendiumpreis and the Best Notation Prize (1994), Darmstadter Kranichsteiner Musikpreis (1996), Second Prize at the Japan Music Competition (1996), Akutagawa Composition Prize (1997), and Encouragement Award of the Japan Choreographers' Society (1997). His music has been accepted at the ISCM World Music Days (Copenhagen, 1996), and the Asian Composers' League Conference and Festival (Yokohama, 2000). During the Tokyo Summer Festivals of 1996 and 1999, his works were given an exclusive showcase. Kawashima has received accolades and engendered the praise of new music critics and enthusiasts with his unconventional style and use of visual performance aspects. His entry to the 2003 Melbourne Festival, Fight with Violin, contained instructions such as "rub violin on top of head, end performance with an empty stage and a recording of a classical piece." 2000 accepted for the 21th Conference and Festival of the ACL in Yokohama. Since 2003 lecturer of the Shobi University. 2005 & 2006 portrait concert by Ensemble Bois (Tokyo). Since 2007producer of comtemporary music series "eX." with Akiko Yamane. 2007solo recital (Tokyo). Since 2008 director of the Japan Federation of Composers Inc. In 2009 he won the 27th Nakajima Kenzo Music Prize. Actually, Kawashima works as Professor at the Composition Dpt. of the Kunitachi College of Music, Tokyo. In Oct 2014 the Tokyo Philharmonic Orchestra will perform a portrait concert dedicated to his works.

 

Georges Aperghis (composer)
http://www.aperghis.com/

 

Teresa Floriach (actriz), ha trabajado bajo las órdenes de directores como Luis Tenewicki, Calixto Bieito o en estos últimos años con Michal Znaniecki. Con él ha hecho, Desconocidos, Anatomía del rey Lear (ambas en Villa Ocampo), Emigradas en Blue (obra que fue al festival InterMedios en México), o “Kronos, una calma erótica”, basada en el diario íntimo de Witold Gombrowicz. Obra que ha sido presentada en la “presentación del festival ópera Tigre”, en Villa Ocampo, en el Festival Internacional Gombrowicz en Buenos Aires, en el Teatro Colon de Buenos Aires (Die Soldaten y Giulio Cesare bajo la direccion de Pablo Maritano), en el teatro Solís de Montevideo y en Polonia y España durante el 2015 y 2016.

 

Ulrike Mayer-Spohn (musician). Extraordinary diversity describes the composer and multi-instrumentalist Ulrike Mayer-Spohn who plays the recorder (with a focus on contemporary music), as well as historical string instruments (fiddle and baroque violin). She studied composition and audio design with Erik Oña at the Studio of Electronic Music, Academy of Music, Basel, beginning to compose in 2007, and receiving commissions from the festival Forum Valais and the international New Music Days, Shanghai. Her work has been performed by the Stuttgart Vocal soloists, Ensemble Phoenix Basel, Vertigo, DissonArt, L'Arsenale, cool a cappella (1st Prize world choir games 2008) and her own ensemble Ums' n Jip in Switzerland, France, Greece, Italy, Russia, Australia, the USA and China, premiered under the baton of Beat Furrer, Mark Foster, Tsung Yeh, Jürg Henneberger and Filippo Perocco and broadcast by the Swiss radio. She was awarded the 1st Prize in the Walter Ferrato composition contest in Savona 2017, the 1st Prize in the Weimarer Frühjahrstage für Zeitgenössische Musik composition contest 2017, the 1st Prize in the London Ear Festival composition contest 2016, the 2nd Prize in the composition competition Culturescapes 2010, 2nd Prize in the composition competition at the Bern music festival 2011, the Scholarship Award for 2011 at the Music Village Mount Pelion in Greece and the Call for Scores Award L'Arsenale Treviso, Italy 2011. In the ensemble Ums' n Jip she has undertaken research in the field of musical theater (chamber operas One, Two, Three, Four, Five), live electronic music and sound spacialization. She studied recorder with Ulrike Mauerhofer at the Musikhochschule Karlsruhe, with Conrad Steinmann and Corina Marti at the Schola Cantorum Basel before specializing in contemporary music and studying with Dorothea Winter at the Royal Conservatory in The Hague. From 2009-11 she studied for a specialized master's degree in contemporary performance at the HSM in Basel supervised by Jürg Henneberger, Marcus Weiss and Mike Svoboda and has taken masterclasses with Marion Verbruggen, Peter van Heyghen, Sebastien Marq and Gerd Lünenbürger. She studied baroque violin and viola with Martina Graulich and David Plantier and fiddle with Randal Cook in Basel. Ulrike Mayer-Spohn works with internationally leading composers and annually plays more than 20 world premieres dedicated to her, which she has recorded for the radio as well as VDE Gallo and col legno on CD. Together with the Swiss composer and singer Javier Hagen, she established the experimental new music duo Ums `N Jip for voice, recorder and electronics, which, alongside the Ensemble Modern, Intercontemporain and Kronos is one of the most active ensembles worldwide and in 2011 won the prestigious MusiquePro scholarship. Since 1999, Ulrike Mayer-Spohn has also performed as a recorder player, violinist, violist and fiddle player in specialized early music ensembles such as the Amsterdam Barok Compagnie, Freitagsakademie, Collegium Musicum Stuttgart, La Chapelle Ancienne, Musica Poetica, Muscadin and La Morra and has performed in Germany, China, the Netherlands, France, Spain, Italy and Switzerland.

www.ulrikems.info

 

Javier Hagen (singer) is one of the most astonishing classical singers of his generation: new music, performance art and Swiss folk music rank equally in his repertoire alongside opera and early music. Hagen was born as Javier-Ignacio Palau-Ribes (JIP) in 1971 in Barcelona and raised between 6 languages on the Mediterranean and in the Valais Alps. He studied classical singing (both tenor and countertenor) in Germany, Italy and Switzerland with Roland Hermann, Alain Billard and Nicolai Gedda, and composition with Heiner Goebbels and Wolfgang Rihm. He studied Lied with Irwin Gage, Hartmut Höll and Ernst Haefliger and early music with Karel van Steenhoven and Kees Boeke. He has a four-octave vocal range. Hagen has worked with world-class composers such as Reimann, Kagel, Rosenmann and Eötvös and leading artists from the worlds of concrete poetry and constructive art such as Eugen Gomringer, Uecker and Rolf Schroeter. Guest appearances have taken him to the modern music festivals in Donaueschingen, Zurich, Geneva, Lucerne, Karlsruhe, Amsterdam, Strasbourg, Bologna, Milan, Prague, New York, Hong Kong, Shanghai, Moscow, St. Petersburg, Adelaide, Riga, Avignon and Berlin. Alongside operatic roles such as Handel's Giulio Cesare, Zsupan (Kalman), Dardanus (Rameau), Stanislaus (Zeller), Bruno (Roesler), Toni (Kalman) and Pappacoda (Strauss), Javier Hagen has premiered more than 200 works, including operas 'à l'air en verre' by Daniel Mouthon 'eismeer' by Christoph Schiller, 'poem ohne held' by Regina Irman, 'esther de racine' by Boris Yoffe, 'The Madman's Diary' by Guo Wenjing, 'Marienglas' by Beat Gysin, 'Les Musiciens de Brème' by Wen Deqing, 'Keyner nit' by Mathias Steinauer, 'Ushba et Tetnuld' by Nicolas Vérin and almost all vocal works by Maria Porten. He has made more than 50 recordings and broadcasts for Swiss, German, French, Czech, Chinese, Mongolian, Spanish, Egyptian, Italian and Latvian radio and television. He won prizes at international contemporary music and composition competitions in 2001, 2004 and 2008 in Basel, Lausanne and Dusseldorf. In 2003, his distorted folk song arrangements "s´sch mr alles 1 Ding" were released on CD on the Swiss label "musiques suisses". His compositions, in particular the vocal works, are performed throughout Europe, Israel, China, Korea, Russia, Australia, North and Central America, by ensembles and conductors including Titus Engel, Ensemble Phoenix, Basler Madrigalisten, Schweizer Jugendchor, Männerstimmen Basel, Philip Bride, Eliana Burki, Amar Quartet. In 2012, a selection of his graphic scores was shown at the prestigious Museum of Modern Art ‘haus konstruktiv’ in Zurich. At the European Youth Choir Festival 2012, Javier Hagen represented German-speaking Switzerland in the context of 'Swiss Composers meet Europe'. With Ulrike Mayer-Spohn, Hagen formed the experimental new music duo UMS 'N JIP, which, with over 100 concerts annually is one of the most active and prolific contemporary music ensembles around the world and winner of the prestigious scholarship MusiquePro. Javier Hagen also directs the international contemporary music festival Forum Wallis, hosting Stockhausen's Helicopter String Quartet with André Richard and the Arditti String Quartet in 2015. He is called as an expert on experimental music theater for the University of Arts in Bern, he is the President of the Swiss Section of the International Society for Contemporary Music (ISCM Switzerland), of IGNM-VS, as well as a board member of the European Conference of Promoters of New Music ECPNM, Swiss Music Edition and Swissfestivals. He presents guest lectures at universities in Shanghai, Hong Kong, Seoul, Taipei, Tokyo, Moscow, Istanbul, Cairo, Buenos Aires, Adelaide, New York, Thessaloniki, Barcelona, Riga and is member of the academic board of the Contemporary Opera Academy at the Festival de Nueva Opera de Buenos Aires (FNOBA) related to the Teatro Colon. He is a jury member at national and international composition and new music competitions (a.o. ISCM World Music Days Young Composers Award, Bohol Philippines Int. Choir Competition) and a member of various committees on behalf of the canton of Valais as well as for the inventory of the cultural heritage on behalf of UNESCO. In 2007 he was nominated for "Walliser of the Year." In 2013 he was awarded the Prix Culturel de l'Etat du Valais.

www.javierhagen.ch

 

UMS 'n JIP are a Swiss contemporary music duo, consisting of Ulrike Mayer-Spohn (UMS) on recorders & electronics and Javier Hagen (JIP), voice & electronics. One of the most experienced and distinguished contemporary music laboratories of our times, they work as performers, composers and organizers within a global network of composers, visual artists, stage directors, researchers, universities and festivals. Their special interest in long term collaboration, with its exchange of knowledge and awareness, brings context to new creations and results in an outstanding increase of artistic content. In this manner, UMS 'n JIP explore new settings for voice, recorders and electronics, ranging from live to digital performance in concert, scenic or installative formats and often integrate European as well as non-European music. UMS `n JIP have been invited to perform at prestigious contemporary music festivals around the world including Zürich, Lucerne, Donaueschingen, Stuttgart, Berlin, Paris, Barcelona, Athens, Istanbul, Moscow, Shanghai, Hong Kong, Seoul, Tokyo, Buenos Aires, and New York. They have premiered hundreds of works, collaborating with both world famous and aspiring young composers such as Heiner Goebbels, Wolfgang Rihm, Mauricio Kagel, Jennifer Walshe, Wolfgang Mitterer, Erik Oña, Luis Codera Puzo, Chikashi Miyama, Huang Ruo and Guo Wenjing. They can look back on more than 900 concerts since their debut in 2007 and are one of the most active contemporary music ensembles worldwide, bringing both young and established works not only to famous venues but also to audiences who do not have easy access to live performances of top quality contemporary music. Both individually and as a duo UMS and JIP have received numerous commissions and awards and have been invited to share their knowledge in renowned universities in Europe, America and Asia. JIP is also the director of the Swiss Contemporary Music Festival Forum Wallis and the current president of ISCM Switzerland, as well as a board member of the European Conference of Promoters of New Music ECPNM, the Swiss Music Edition, and of the UNESCO Commission for the Inventory of Intangible Cultural Heritage in the Canton of Valais. Since 2013 UMS has been pioneering two new research projects: Recorder Map and Recorderology, and the duo has been invited to act as experts in the European Union's FP7 i-Treasures project.

 

 

 

AUDIO

 

 

 

 

 

PHOTOS

 

Pablo Maritano staging EINER at CETC

Maria Porten attending EINER rehearsals at CETC

with Maria Porten and Teresa Floriach

JIP presenting works by Georges Aperghis and Motoharu Kawashima

preparing the stage at CETC Buenos Aires, Nov 2015

 

 

 

 

 

SUPPORTS