Elevsis Cultural Capital - IRIS
1st April, 21.00
dissonart ensemble is going to perform Feldman’s last epic work offering a deeply physical and meditative experience for its audience who will be free to lay down in yoga mats..
https://www.athinorama.gr/music/3013222/eleusina-2023-10-mousika-dromena-pou-den-prepei-na-xasete/?fbclid=IwAR1p51QQ0NRJ1HQWS_J2L9NCJlCi9D74gWt8TkF7_T0EuEzKrlR_9JutMts
20. / 21. August 2022
CPH Opera Festival (Østerbro-Stadion), Copenhagen
In a final, the best athletes, scientists or artists compete against each other. At least that’s how it should be. But aren’t there often barely measurable nuances that make the difference?
Thousandths of a second or extremely subjective taste buds of individual jury members that decide on fame and shame?
Of course! And so it is no wonder that in the finale of the music theater trilogy “Die Oper #1–#3”, all attention is focused on the “outtakes” that did not make it to the finals. One can only vaguely guess how much material remains unconsidered when a film is cut, a book is edited or a piece of music is produced, and how much heart and soul goes into such processes. In the end, there is always the agonizing question of whether the right choice has really been made. This is how the pioneer of the opera genre, the composer Claudio Monteverdi (1567–1643), must have felt when he was finalizing his stage works. How exactly did it happen that countless arias, choruses, symphonies and recitatives fell by the wayside?
And in which sunken archives are these “outtakes” kept? There is interesting news about this, because there is much to suggest that they could resurface more than 350 years after the death of their creator in order to make their very own way onto the stages of this world. It is to begin in Weimar. And in a place where one would not expect to hear opera. There, deep in the west of the city, Novoflot is ready to receive the “outtakes” and to initiate the final rewriting of opera history together with them!
Antonis Anissegos, Michael Wertmüller and Johnny La Marama (Chris Dahlgren, Kalle Kalima, Eric Schaefer)
With:
Raphael Clamer Actor
Rosemary Hardy Voice
Ichi Go Dance, Voice
Veronica Lepekha Rhythmic gymnastics
Falko Siewert Photographer
Ensemble DissonArt:
Jannis Anissegos Flute
Alexandros Stavridis Clarinette
Lenio Liatsou Piano
Kostas Argyropoulos Percussion
Theodoros Patsalidis Violin
Vassilis Saitis Violoncello
Yiannis Chatzis Double bass
Johnny La Marama:
Kalle Kalima E-Guitar
Chris Dahlgren E-Bass
Eric Schaefer Drums
Antonis Anissegos Keyboards
Hayden Chisholm Saxophon
Ulrich Holbein Texts
Source: https://novoflot.de/de/kalender/
Xenakis concert with dissonart ensemble
https://xenakis2022.uoa.gr/concerts/
Xenakis 22: Centenary International Symposium
PIANO RECITAL with works by Aperghis, Messiaen, Tsangaris (WP), Shlomowits (GP)
Actress: Athina Alexopoulou
A TRIBUTE TO GEORGES APERGHIS
After the lasting impression made by the tribute to Olivier Messiaen in 2019, Onassis STEGI once again joins forces with the ATHENSConservatoire for a tribute to Georges Aperghis’s music theater universe. The composer Nicolas Tzortzis, who studied under Aperghis and masterminded the entire program for the tribute, will lead a team of musicians, actors, and dancers in the creation of a new version of “Énumérations” (1988) based, of course, on Aperghis’s original work (26.3). Françoise Rivalland, percussionist and close collaborator of Aperghis’s, will teach a master class on his works for music theater works in addition to participating in a concert for voice, percussion, and accordion with Angèle Chemin and Vincent Lhermet (27, 28/3). Lenio Liatsou, who recently recorded Aperghis’s works for piano, will perform a recital. The tribute will close with a concert by participants in the master class (29/3). For the first time in Greece, Aperghis, along with his hand-picked collaborators, will teach his oeuvre to a younger generation of artists.
https://www.onassis.org/whats-on/tribute-georges-aperghis
