Previous Events

TRIO vis-à-vis performs trio works composed specifically for this ensemble.

Ramón Gorigoitia (*1958): Culto a lo oculto (2025), for flute, bass flute, voice, and violoncello

Astrid Solberg (*1995): But I’m in fact also relieved. And I’m ashamed of it(2026), for alto flute, piccolo flute, voice, and violoncello

Iván González Escuder (*1979): Two Yeats Songs: I. Turning and Turning; II. The Lake Isle of Innisfree (2024/2025), for flute, voice, and violoncello

Arthur Johann Fiedler (*2009): Five More Stops (Noch fünf Stationen) (2025), for flute, voice, and violoncello

More Information: https://www.sankt-peter-koeln.de/wp/musik/konzerte/
https://kgnm.culturebase.org/de_DE/konzertkalender/lunchkonzert.18021842

Musical reading for the 90th birthday of Ernst Siegfried Steffen in the exhibition of David Ostrowski.

TRIO vis-à-vis performs pieces of music chosen to accompany poems by the Heilbronn-born poet Ernst S. Steffen (1936–1970). Works by Georges Aperghis, Helmut Lachenmann, Brian Ferneyhough, Salvatore Sciarrino, Emil Kuyumcuyan and Iván González.

As a child, Ernst S. Steffen (1936–1970) was abused by his alcoholic father, who had returned from the war, and was then sent to a reform school – although the fault lay with his father. These experiences left the boy unable to fit in anywhere later on: he dropped out of school, apprenticeships and training, first turned to petty crime, later committed serious offences as well, and was sent again and again to penitentiaries and prisons, where he spent almost 17 years of his short life. In prison his talent for writing was discovered and gradually encouraged. Even his first publications were taken seriously by literary critics; he found a publisher and corresponded with other authors. His writing became a vision of arriving: he hoped to gain a foothold as a full member of society. Yet with every release he realised how hard freedom after prison is to bear. In December 1970 he drove into the only tree for miles around on a straight road and died in the accident.

In the project, archived facts and prose texts by Ernst S. Steffen illustrate his circumstances, while his poems bring out the vision of a successful life.

Funded as part of Literatursommer 2026 – a series of events by the Baden-Württemberg Stiftung, www.literatursommer.de

Both events take place at the Kunstverein:
Kunstverein Heilbronn/ Kunsthalle Vogelmann (Allee 28, 74072 Heilbronn).

A cooperation of the Förderkreis für Neue Musik Heilbronn with the Literaturhaus Heilbronn and the Kunstverein Heilbronn.

Free admission.
Tickets: diginights.com/literaturhaus

More information: https://www.neue-musik-heilbronn.de/

TRIO vis-à-vis once again performs together with their colleague Maria Kalesnikava the piece “The Seasons” (2018) by Konstantin Yaskov.

Maria Kalesnikava lived in Stuttgart for 12 years and contributed to shaping SKAM as a member of its board. After completing her studies in Stuttgart, she worked as a flutist and cultural manager before becoming, in 2020, one of the leading figures of the Belarusian democracy movement. Her commitment to freedom, the rule of law, and social responsibility led to her imprisonment and a long prison sentence.

With great gratitude and deep respect, we are now honored to announce that, during this concert evening, Maria Kalesnikava will give her artistic stage comeback following her release. This concert is therefore not only a sign of solidarity but also a moving moment of return—to the place of her artistic education and to an institution that has had a lasting influence on her.

“Klänge der Freiheit” is conceived as a musical affirmation of the power of art to build bridges and inspire hope. Artists from institutions such as SKAM and InterAKT, together with faculty members and students of HMDK, will shape an evening that highlights humanistic values through artistic excellence.

With welcoming remarks by:

Petra Olschowski, Minister for Science, Research and the Arts
Marc Gegenfurtner, Head of the Cultural Office of the City of Stuttgart
Christine Fischer, Artistic Director of Musik der Jahrhunderte and of the ECLAT Festival for New Music

After the concert, HMDK Stuttgart cordially invites you to a reception, offering an opportunity for personal exchange.

IN COOPERATION WITH
HMDK Stuttgart, freemascha.org, Stuttgarter Kollektiv für Aktuelle Musik e. V., InterAKT Initiative e. V., Musik der Jahrhunderte, the Stuttgart Cultural Office, and the Goethe-Institut Germany

SUPPORTED BY
Kunststiftung Baden-Württemberg and S-K-A-M e. V.

WITH
TRIO vis-à-vis (Natasha López, Hugo Rannou, Maria Kalesnikava), Viktoriia Vitrenko, Remmy Canedo, Nikola Lutz, Klaus Dreher, Tamara Kurkiewicz, among others.

MUSIC BY
Konstantin Yaskov, Nikola Lutz, Mayke Nas, Matthias Hermann, among others.

ADMISSION
Free entry, reservation recommended

More Information:
https://skam-ev.org/veranstaltung/klaenge-der-freiheit-konzert-fuer-und-mit-maria-kalesnikava/

The program Nordic Sounds brings together works by composers from Sweden (Karin Rehnqvist), Iceland (Björk), Finland (Kaija Saariaho), Norway (Astrid Solberg) and Denmark (Nicolai Worsaae), whose trio piece was commissioned for TRIO vis-à-vis. The aim of the program is to present the distinctive sound worlds, tonal colors, and aesthetic approaches of contemporary Nordic music.

Highlights include our arrangement of three songs by Icelandic pop icon Björk and the striking presence of female composers throughout the program. A central focus is the world premiere of a new work by Astrid Solberg, in which the musicians interact not only as performers but as human beings. The piece is shaped by a system of rules and decision points that lead to spontaneous shifts in musical interaction, bringing to life—often humorously and in a way that is easy to follow—the work’s themes: the fragility of goals and dreams, and the immediacy with which life can change.

PROGRAM:

1. Karin Rehnqvist (*1957): Så går en dag (2000), for solo voice
2. Kaija Saariaho (1952–2023): Mirrors (1997), for flute and cello
3. Nicolai Worsaae (*1980): Gajo (2023/24), for soprano, flute, and cello
4. Astrid Solberg (*1990): “But I’m in fact also relieved. And i’m ashamed of it”. World Premiere (commissioned work for TRIO vis-à-vis)
5. Björk Guðmundsdóttir (*1965): Venus as a Boy, Violently Happy, All is Full of Love (arranged by TRIO vis-à-vis)

More Information: https://www.reutlingen.de/de/Kultur/Veranstaltung?view=publish&item=eventDate&id=45505

Programm. musica nova 2025-2026

Funded by: Kulturrådet/ Arts Council Norway

In the program Invocation, TRIO vis-à-vis presents works of contemporary classical music with spiritual and sacred references: texts from Cántico Espiritual by San Juan de la Cruz, music by Giacinto Scelsi—who regarded the artist as a mediator between humanity and God—and two trios composed especially for TRIO vis-à-vis. These works engage with Greek mythology (Helena Cánovas) and with microtonality and overtones in the spirit of Scelsi (Huihui Cheng).

PROGRAM:

1. Giacinto Scelsi (1905–1988): Three Latin Prayers (1960), for soprano solo
2. Huihui Cheng (1985–): The Tides Soul (2021), for soprano, cello and flute
3. Beat Furrer (*1954): Invocation VI (2002/03), after texts by San Juan de la Cruz, from the opera Invocation, for bass flute and soprano
4. Giacinto Scelsi (1905–1988): Pwyll (1954), for flute solo
5. Giacinto Scelsi (1905–1988): Ygghur I, from Trilogia: I tre stadi dell’uomo (1965), for cello solo
6. Helena Cánovas (*1994): Penelope. A Study on Waiting (2021/22), for soprano, cello and flute

More information:
https://www.kunstkulturkirche.de/musik/konzert/invocation/

The English title oPRESSIONs brings together significant works of contemporary music from the 20th and 21st centuries. The unifying idea is “pressure”—on the one hand as a sound-producing tension (Lachenmann, Aperghis), on the other as a symbol of oppression and abuse of power (Gorigoitia, Crawford, Bernal, and Kuyumcuyan).

Particularly striking is Alberto Bernal’s impossible translations #5 – an homage to Maria Kalesnikava as well as an indictment against injustice. Kalesnikava, former flutist of TRIO vis-à-vis, was released on December 13, 2025, after five years of political imprisonment in Belarus.

Lachenmann and Aperghis challenge classical notions of “beautiful” sound with their revolutionary sonic techniques. Through intensified pressure techniques, sounds emerge that push instruments to their physical limits, transporting the audience into a new, provocative, distorted dimension.

With Kuyumcuyan we encounter a literary collage of fragments and motifs from Wilfred Owen, Boris Vian, Kurt Tucholsky, as well as from soldiers’ letters and war diaries—an evocative reflection on war, death, and forgetting.

Chilean composer Ramón Gorigoitia sets to music the fragment Ellas llevan la vida en el pelo (“They carry life in their hair”), taken from the second volume of Memorias del fuego, entitled Las caras y las máscaras, by Uruguayan writer Eduardo Galeano. The work recounts the story of rebellious women—escaped slaves—who fought against oppression in 18th-century Suriname. The text intertwines resistance, memory, poetry, and metaphor to honor female courage and denounce historical injustice.

The program raises questions that extend beyond art itself: What happens when creative pressure becomes a release for liberation—and what happens when pressure wielded through power leads to oppression?

The program oPRESSIONs invites listeners to experience the power of sound and to reflect on power—particularly the power of art.

This concert is dedicated to Maria Kalesnikava – to her liberation and to freedom.

PROGRAM:

1. Alberto Bernal (*1978): impossible translations #5 (2021), for flute with video & tape.
2. George Aperghis (*1945): Recitation No. 14 (1978), solo voice.
3. Helmut Lachenmann (*1935): Pression (1969/70), solo cello.
4. Emil Kuyumcuyan (*1993): Déserteur and Return (2025), for voice, cello, bass flute, flute, accordion, synthesizer, and finger cymbals.
5. Ruth Crawford (1901–1953): Two Ricercare: 1. Sacco, Vanzetti; 2. Chinaman, Laundryman, on texts by Chinese author H.T. Tsiang (1932) – arranged for trio.
6. Ramón Gorigoitia (*1958): Culto a lo oculto (world premiere), for voice, cello, and flute.

Funded by: Stuttgarter Kollektiv für aktuelle Musik e. V. and Deutscher Komponist:innenverband e. V.

More Information: https://www.leonberg.de/Kultur-Sport-Tourismus/Kultur/Rathauskonzerte/out-of-the-box-TRIO-vis-%C3%A0-vis.php?object=tx,4170.4.1&ModID=11&FID=4170.27.1&NavID=2691.1394&La=1

FLYER:
Out of the box. Leonberg. 2026 Flyer

TRIO vis-à-vis is recording the work Déserteur (2025), composed by Emil Kuyumcuyan for the ensemble.

The audio and video recordings will take place throughout the day in the chamber music hall of the Stuttgart University of Music and Performing Arts.

Film and audio: James Chan-A-Sue

The state competition JUGEND KOMPONIERT Hessen & Thuringia is announced in three age groups (17–23 years, 14–16 years, up to 13 years) and features annually changing instrumental categories.
Eligible participants are children, adolescents, and young adults residing in Hessen or Thuringia who are not enrolled in professional musical training.

The JUGEND KOMPONIERT Workshop takes place alternately each year in Hessen or Thuringia and is open to all competition participants as well as other interested individuals. The workshop instructors support the participants in developing their own musical ideas, and already completed compositions can be discussed in depth.
The highlight of the workshop is the public final concert, in which the compositions created during the workshop are performed by professional musicians.

JUGEND KOMPONIERT Hessen & Thuringia is jointly organized by the State Music Councils of Hessen and Thuringia (Landesmusikrat Hessen e.V. and Landesmusikrat Thüringen e.V.), with support from the Sparkassen-Kulturstiftung Hessen-Thüringen.

All interested guests were warmly invited on Sunday, October 5, 2025, to experience the results of the Youth Composescompetition and workshop in the new Kulturhalle Hahnekiez in Schlitz.
The compositions created by young composers from Hessen and Thuringia were presented in concert by the professional New Music ensemble TRIO vis-à-vis.

The TRIO vis-à-vis (flute, cello, and voice) is dedicated to experimenting and exploring the unknown in contemporary music.
The diversity and high quality of the compositions — many created by very young composers — were particularly impressive.

As part of the concert, prizes and certificates were awarded to the participating composers.

More information:
https://www.landesmusikrat-hessen.de/projekte/jugend-komponiert

https://www.landesmusikrat-hessen.de/infos-service/unsere-eventfotos

Credits: eisenbarth-fotodesign
(via Landesmusikrat Hessen e. V.)

TRIO vis-à-vis performs the following program:

1. Helmut Lachenmann (*1935): temA (1968), for mezzo-soprano, violoncello, and flute.

2. Helena Cánovas i Parés (*1994):Penelope. Eine Studie über das Warten (2021/22), for soprano, violoncello, and flute.

More information: https://www.kirchenmusik-in-stuttgart.de/dommusik-st-eberhard/konzerte

TRIO vis-à-vis is recording the piece Return (2025), composed by Emil Kuyumcuyan for the ensemble.

The audio and video recordings will take place throughout the day in the chamber music hall of the Stuttgart University of Music and Performing Arts.

Film and audio: James Chan-A-Sue

HEMEROBY is a measure that assesses the pressure and human influence on ecosystems in order to define the degree of their naturalness and anthropization. With works such as Individuum ↔ Collectivum (1979) by Vinko Globokar (*1934), Collective-Individuals (2020) by Sophie Pope (*1988), and musical as well as performative improvisations, TRIO vis-à-vis aims to communicate through interaction with the audience to explore human behavior in groups versus that of loners.

The entrance hall of the subway station and the subway network at Marienplatz are considered as a biotope. For this, the Trio will measure the degree of interaction and hemeroby (naturalness vs. anthropization) of the audience. Furthermore, the location serves as an opening, reception, and welcome space for visitors, as a catalyst for the development of the festival.

The musical and performative contributions take place during rush hours at the beginning of the festival and each last 30 minutes:

July, 12 2025: 3.15 PM to 3.45 PM and 4.10 PM to 4.40 PM
July, 13 2025: 12.30 PM to 1 PM

A site specific project presented within the 10th anniversary festival of the Stuttgarter Kollektiv für aktuelle Musik e. V.

Funded by: S-K-A-M e. V. and Stadt Stuttgart

More Information: https://skam-ev.org/veranstaltung/hemerobie-biotope-of-sound/

The Reiseandenken project deals with the idea of ​​creating art in public spaces in such a way that social reflection and interaction with society is achieved.

Reiseandenken invites you to a musical bus journey that begins at Marienplatz and reaches its moving climax at the Waldfriedhof cemetery. There rest not only anonymous victims of the two world wars, but also well-known figures. During the ride, TRIO vis-à-vis performs works by Emil Kuyumcuyan that encourage reflection on war, death, and remembrance. The aim is to create an emotional connection, raise awareness of memory, and promote dialogue about the consequences of conflict – for greater tolerance and mutual understanding.

Music:
Emil Kuyumcuyan (1993): Déserteur and Return (World Premiere, 2025) – a literary collage and creation by Emil Kuyumcuyan featuring fragments and motifs from Wilfred Owen, Boris Vian, Kurt Tucholsky, soldiers’ letters, and war diaries. For voice, cello, flute, accordion, toy piano, finger cymbals, and synthesizer.

Idea, concept, and project management:
Natasha López

FREE ENTRY

Limited seating 
Reservations for rides at 6:00 PM and/or 7:00 PM at:

Notice Regarding Video Recording and Consent for Publication
Please note that video recordings will be made as part of this project. Due to the limited space and the close proximity between the audience and the performance area, it is not logistically possible to exclude individuals from the footage.
By attending, you give your consent to be recorded in image and sound, and for these recordings—on which you may be visible or audible—to be used for the public documentation of the project.
If you do not wish to appear in the video, please inform the project team before the event begins and kindly make your seat available to another interested guest.
Thank you for your understanding!
TRIO vis-à-vis

Funded by: Musikfonds e. V. , Stuttgarter Kollektiv für aktuelle Musik e. V. and Stadt Stuttgart.

In cooperation with: Party Ride.

The project Hodgepodge presents 21st-century contemporary music works that showcase the diversity of the trio’s repertoire and performance possibilities.

It includes music theater pieces for soloists and ensembles, such as Die Alte by Carola Bauckholt and Penelope. Eine Studie über das Warten by Helena Cánovas. Performative works such as Das >DING< an sich by Johannes Kreidler and Coq-à-l’âne by Charlotte Seither, along with electronic pieces like (neo)liberal systems #2 «crescendo» by Alberto Bernal, further expand the range of the program.

The works range from socially and politically critical pieces to humorous ones, from serious and formal compositions to performative pieces where gesture and movement take center stage.

Hodgepodge offers the audience an exciting journey without fixed expectations, where the blend of emotions and impressions is the most thrilling part of the experience.

PROGRAM:

1. Carola Bauckholt (*1959): Die Alte (2001), for voice.

2. Alberto Bernal (*1978): (neo)liberal systems #2 «crescendo» (2019), for any instrumentation and live electronics.

3. Johannes Kreidler (*1980): Das >DING< an sich (2017), a performance for speaker and bicycle bells.

4.Charlotte Seither (*1965): Coq-à-l’âne (1997), for three or more players of “sound producing objects”.

5. Samir Odeh-Tamimi (*1970): Uffukk (2010) for solo violoncello.

6. Helena Cánovas (*1994): Penelope. Eine Studie über das Warten  (2021/2022), for soprano, flute and violoncello.

More Information: https://www.unerhoerte-musik.de/#Bookmark1

Maryja Kalesnikava, who graduated as a flutist from the University of Music in Stuttgart and worked here as a musician and cultural manager, but also became increasingly active in her hometown of Minsk again from 2018 onward, gained international recognition in 2020 as one of the three female figureheads of the democracy movement in Belarus.

Abducted and missing for days during the violent suppression of demonstrations, she was sentenced to eleven years in prison, mistreated while in custody, transferred to a civilian hospital in critical condition, and then prematurely sent back to the penal camp after successful treatment. Since March 2023, she has been held without any contact with the outside world.

As of today (November 2024), her family, along with us—local supporters, friends, and colleagues—do not know if Maryja is still alive.

This concert is for her.

Program:

1. Helmut Lachenmann (*1935): temA (1968), for mezzo-soprano, cello, and flute
2. Wojciech Blecharz (*1981): blacksnowfalls (2014), for percussion.
3. Reading.
4. Matthias Hermann (*1960): Echo 3 – Study for Five Percussionists (2024, World Premiere)
5. Mayke Nas (*1972): Cinderella (2018), for percussion
6. Klaus Sebastian Dreher (*1967): AVE MARIJA – Music for Kalesnikava (2025, World Premiere), for soprano, bass, cello, organ/accordion, flute quartet, and two percussionists.

Performers:
Natasha López, Frank Wörner: voice
Hugo Rannou: cello
Felix Muntwiler: organ
Albrecht Imbescheid, Petra Arman, Maren Dreher, Julia Steinbächer: flute
Percussion Ensemble Stuttgart: Anna Fiveiska, Tamara Kurkiewicz, Seongyeon Kong, Aleksandra Nawrocka, Xia Yuan: percussion
TRIO vis-à-vis: Natasha López (voice), Petra Arman (flute), and Hugo Rannou (cello)

More information: https://tonart-esslingen.de/2024/12/11/ave-maryja/

The first three words of the poem The Second Coming by W. B. Yeats from 1919 give the evening concert its title: “Turning and turning in the widening gyre/The falcon cannot hear the falconer.” The image of a “widening gyre” symbolizes the inevitable catastrophe that occurs when opposing forces spiral out of balance – even in the context of historical developments.

TRIO vis-à-vis uses this title to create a tribute concert for their friend and former flutist of the ensemble, Maria Kalesnikava, who was part of the ensemble from 2016 to 2020. Her personality embodies the metaphor of a turning point in many ways: a turning point in regard to the dramatic fate of her life as a political prisoner in Belarus since September 9, 2020, and a turning point that is also reflected in the character of the musical works that correspond to Maria’s personality: humor, laughter, and playfulness.

As a music ensemble, we believe it is important to honor her fight for democracy in Belarus, to support her through art and music so that she is not forgotten, and to raise awareness of her current situation.

More Information: https://www.gedok-stuttgart.de/aktuell/veranstaltungen/trio-vis-a-vis/

FREE ENTRANCE

PROGRAM:

1. Concert’s opening: Reading of poem “Mascha”, from Natasha López.

2. Iván González Escuder (*1979): 2 Yeats-Lieder: 1. Turning and turning (2024); 2. Innisfree (PREMIERE, 2024/2025), for soprano, flute and violoncello.

3. Johannes Kreidler (*1980): Das >DING< an sich (2018), a concertante bicycle bell test.

4. Artur Kroschel (*1973): Unsicherheit (2024), for soprano, flute and violoncello.

5. Charlotte Seither (*1965): Coq-à-l’âne (1997), for three or more players of “sound producing objects”.

6. Neil Tòmas Smith (*1987): Oceans Made Small – Lorcian Moments (2013), for soprano, flute, violoncello and tape.

7. Beat Furrer (*1954): Invocation VI, for soprano and Bass flute (2002/2003).

Funded by: GEDOK e. V.

In collaboration with: Stuttgarter Kollektiv für aktuelle Musik e. V.

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 two trio works 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.

PROGRAM:

1. Catharina Backman (*1961): Vestigios (de tus…), 2018/19), for soprano, alt flute and violoncello.

2. Kaija Saariaho (1952-2023): Spins and Spells (1996), for violoncello solo.

3. Karin Rehnqvist (*1957): Så går en dag (2000), for voice solo.

4. Kaija Saariaho (1952-2023): Changing light (2005), for soprano and flute.

5. Nicolai Worsaae (*1980): Gajo* (world premiere, 2023), for soprano, flute and violoncello.

6. Björk (*1965): Venus as a boy; Violently happy; All is full of love (arrangement by TRIO vis-à-vis).

More Information: https://www.domnick.de/besuchsinformation/fuehrungen-veranstaltungen/weitere-informationen-zum-ausgewaehlten-angebot/nordische-klaenge/7721/601340

*Funded by: Dansk Komponistforening (The Danish Composers’ Society)

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 two trio works 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.

More Information: https://www.hmdk-stuttgart.de/veranstaltungen/veranstaltungskalender/?tx_wreventcalendar_pi1%5Bevent%5D=9089&tx_wreventcalendar_pi1%5BcurDate%5D=1730415600&tx_wreventcalendar_pi1%5Baction%5D=show&tx_wreventcalendar_pi1%5Bcontroller%5D=Event&cHash=6f44368037e052a00c443bcf2ffce09a

The first three words of the poem The Second Coming by W. B. Yeats from 1919 give the evening concert its title: “Turning and turning in the widening gyre/The falcon cannot hear the falconer.” The image of a “widening gyre” symbolizes the inevitable catastrophe that occurs when opposing forces spiral out of balance – even in the context of historical developments.

TRIO vis-à-vis uses this title to create a tribute concert for their friend and former flutist of the ensemble, Maria Kalesnikava, who was part of the ensemble from 2016 to 2020. Her personality embodies the metaphor of a turning point in many ways: a turning point in regard to the dramatic fate of her life as a political prisoner in Belarus since September 9, 2020, and a turning point that is also reflected in the character of the musical works that correspond to Maria’s personality: humor, laughter, and playfulness.

As a music ensemble, we believe it is important to honor her fight for democracy in Belarus, to support her through art and music so that she is not forgotten, and to raise awareness of her current situation.

With the support of: Gerhart und Renate Baum-Stiftung, Deutscher Komponistenverband e. V. and Stuttgarter Kollektiv für Aktuelle Musik e. V.

In collaboration with: Theater Atelier

TRIO vis-à-vis plays different contemporary music works at the Kunst-Station Sankt Peter Kirche (Cologne) as part of the concert series Lunchkonzerte, that take place every Saturday at 1 PM.

Works of Helena Cánovas (Penelope. Studie über das Warten) and Helmut Lachenmann (temA).

More information: https://www.sankt-peter-koeln.de/wp/musik/konzerte/

In extinct.freedom, TRIO vis-à-vis and Nikola Lutz explore 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 turns digital technology into a weapon against its own citizens, whose historical first victims are the Uyghurs. In the concert Unendliche Freiheit?, TRIO vis-a-vis and composer Alberto Bernal examine the loss of freedom through neoliberal pragmatism in technologically advanced production environments, which degrade people into mere human production tools. With Made in China/Epitaph Bernal commemorates Foxconn worker and poet Xu Lizhi, who could only escape the slave-like working conditions by committing suicide. Foxconn is the main contract manufacturer for the largest producers of electronic products worldwide, such as Apple, Amazon, Sony and Microsoft, and is thus deeply intertwined with our daily lives.

More information: https://wissenschaftsfestival.stuttgart.de/veranstaltungskalender/veranstaltungen/extinct.freedom-482964.php#infos

Funded by: S-K-A-M e. V. (Stuttgarter Kollektiv für Aktuelle Musik e. V.)

In cooperation with: Werkstatthaus Stuttgart and as part of the 3rd. Stuttgart Science Festival.

In_Szene-Almuni of the Podium Gegenwart (Deutscher Musikrat) will perform the evening at the concert series “Südseite Nachts” by Musik der Jahrhunderte.

Andrea Conangla, soprano
Igor C. Silva: Vou
Arrangement for voice and electronics
Sara Glojnarić: The Poet is a Faker
for voice and electronics

Johanna Ihrig, soprano
Thomas Kolarczyk, double bass
from: Neue Kammer
Gilles Schuehmacher: Roses IV-VII
for double bass and soprano

Film:
Sarvenaz Safari: Eternal Summer

TRIO vis-à-vis
Natasha López, soprano
Hugo Rannou, violoncello
Petra Arman, flute

Homage to Björk
Improvisational approaches to songs:
Venus as a boy, Violently happy, All is full of love.

Viktoriia Vitrenko, voice & performance
Maxim Shalygin: Songs of Holy Fools
Vocal cycle for voice and piano (from: LIMBO)

Improvisations
Conductor: Andrea Conangla, soprano

https://www.mdjstuttgart.de/konzert/in_szene/

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 (Rosenbergstr. 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.

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.

Love is the common thread that will guide the audience through the evening: from the reinterpretation of the faithful, patient and devoted love of the Greek mythological figure Penelope (Penelope. Eine Studie über das Warten [2021/22] by Helena Cánovas), to the sweet and stormy love of the Baroque in Monteverdi’s Si dolce è’il tormento (1624) and its corresponding modern reinterpretations [VOIDS] C. Monteverdi – Si dolce è’l tormento (2023) by Spanish composer Alberto Bernal and Dolce tormento (2004) by Finnish composer Kaija Saariaho, through to an ironic, playful and explosive love by Danish composer Nicolai Worsaae with his world premiere Gajo (2023/2024), which sets the poems of author and singer Natasha López to music. Including the eponymous amoradi(o)activo. Recited poems from amoradi(a)ctivo are also integrated into the scene.

Admission free!
Donations are welcome.

In collaboration with: InterAKT Initiative e. V.

Funded by: Albrecht Beck Stiftung e. V.

With the kind support of: Musik der Jahrhunderte e. V.

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).

Works of Ivan Fedele and Alberto Bernal.

More information: https://www.esslingen.de/site/Esslingen_Layout_2022/node/20307012/zmdetail_523242186052/index.html?nodeID=523242186052

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 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 a drama about life and death.

VIRUCIDE 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 piece will also offer the audience the opportunity to take an active role by allowing in 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?

ARTISTS:

Musicians:
​TRIO vis-à-vis: Petra Arman, flute; Natasha López; voice and violin; Hugo Rannou, ​violoncello​
Puppeteer: ​Robert Buschbacher​
Dance: Marija Skender
​Performers: Magda Agudelo and Desiree Lune
Composition: Remmy Canedo
Grafic designer: Mariia Prudnikova
Stage design (Concept): Hannah Zickert
Costume (Concept): Kim Gorinski
Light engineer: Louis Reichert
Dramaturgy: Maryna Mikhalchuk

Concept, Lyrics and project management: Natasha López

A production of Natasha López and Remmy Canedo

TRIO vis-à-vis and guests play VIRUCIDE as part of the Internationales Digitalkunst Festival Stuttgart.

Supported by the City of Stuttgart and the Freie Tanz- und Theaterszene Stuttgart:

Organised by:

The concert SZENEN offers various short music theater pieces, most of which were created as a composition commission for the TRIO vis-à-vis. They include scenes of a contemporary interpretation of the Greek mythology and female figure “Penelope” from the perspective of the 21st century and her examination of fidelity and waiting, arrangements of songs from different eras (classical, romantic and pop), settings and staging of erotic poems written by Natasha López, as well as the scene VI from the opera “Invocation” by Beat Furrer.

More information and tickets: www.idkf.org.

A project of the Internationales Digitalkunst Festival:

TRIO vis-à-vis plays “Penelope, eine Studie über das Warten” (2021/2022), of Helena Canovas and Maike Graf in a concert dedicated to Maria Kalesnikava.

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).

TRIO vis-à-vis plays trio pieces composed for their instrumentation. Works by H. Lachenmann, C. Backman, H. Cánnovas/M. Graf, N. T. Smith, N. Worsaae, and others.

More information and tickets: www.kalamatamusicdays.com

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.

      

TRIO vis-à-vis makes music and scenic rehearsals of the work Vestigios (de tus…) with the composer Catharina Backman.

TRIO vis-à-vis makes music and scenic rehearsals of the work Replication #1 with the composer Nicolai Worsaae.

TRIO vis-à-vis takes master classes with Helmut Lachemann and rehearses his work temA, for violoncello, flute and voice.

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.

REFRACTIONS and REFLECTIONS

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.

More information and Tickets:
Re-fractions and Re-flections

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”.

More information and tickets: Miradas antológicas: la vitalidad del pasado en Fernando Zóbel

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

https://triovisavis.com/wp-content/uploads/2026/09/VIRUCIDE.-Plakat.-Animation.-Gelb.mp4

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?

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.)

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.

More information: https://www.caecilienchor-ludwigshafen.de/konzerte-auftritte/

TRIO vis-à-vis asists to conferences, symposiums and meetings as scholarship holder of the “InSzene” program from Podium Gegenwart of Deutscher Musikrat.

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.

  

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)

More information: https://www.schauspiel-stuttgart.de/spielplan/a-z/18-briefe-und-eine-fabel-aus-belarus/

PREVIEW:

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

7 PM

Concert hall, University of Music Stuttgart

Hochschule für Musik und Darstellende Kunst Stuttgart

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.

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

Theaterhaus, T2, Stuttgart. 7 PM

Funded by:

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.:

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 #5^PREMIERE, for flute and video (2021)
Commissioned for TRIO vis-à-vis*. Dedicated to Maria Kalesnikava

Alberto Bernal: Made in China/ Epitaph^PREMIERE, 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)

7 PM

Theaterhaus, T3, Stuttgart

Der Sommer in Stuttgart

*Funded by Musikfonds e.V. by means of the Federal Government Commissioner for Culture and the Media

TRIO vis-à-vis plays works of Ivan Fedele, Brian Ferneyhough and Huihui Cheng^{WORLD PREMIERE}

As part of the concert series by SKAM e. V.

GEDOK e.V., Stuttgart

8 PM

Financed by: S-K-A-M e. V. and Deutscher Komponistenverband e. V.

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*

5 PM / live from Theaterhaus Stuttgart

Musik der Jahrhunderte (Theaterhaus)

*with the support of the Landesbank Baden-Württemberg Foundation

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:

Aspects of “Infinite Freedom” will be examined in the new TRIO vis-à-vis project, which will be premiered on November 12, 2020 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:

Alberto Bernal: impossible music #3 «stummer schrei»
Interactive installation

Silvia Rosani: White Mask, from “White Masks”
Cycle for cello, live electronics and vibrating metal plates (2016-2019) / 7′

Silvia Rosani: Ai Limiti delle soglie II: con moto trasversale (WORLD PREMIERE), for soprano, cello, flute, composer and hybrid electroacoustic instruments (2019/20) / 15 ‘

Silvia Rosani: Als ich ein Kind war, Nr. 1., from the cycle “Ai limiti delle soglie”, for soprano and live electronics (2017) / 12 ‘

Alberto Bernal: (neo)liberal systems #2 «crescendo», for variable cast and live electronics (2019) / 10 ‘

Alberto Bernal: Made in China (WORLD PREMIERE), for soprano, cello, flute, audiovisual projection and live audio tracking (2020) / 15 ‘
A composition order from TRIO vis-à-vis *

Silvia Rosani: Interactive installation

Festival Südseite Nachts

P1 Hall, Musik der Jahrhunderte

8 PM

*with the support of the Landesbank Baden-Württemberg Foundation and funded by Musikfonds e.V. by means of the Federal Government Commissioner for Culture and the Media

TRIO vis-à-vis plays world of Lachenmann, Ulrich Kreppein, Beat Furrer, Catharina Backman, etc.

GALERIE Q

8 PM

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.

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: dance

Marija Skender: dance

Yahi Nestor Gahè: dance

Theaterhaus, Stuttgart (T3)

7.30 PM

Funded by:

With friendly support of:

TRIO vis-à-vis plays works of G. Scelsi, J. S. Bach, G. Connesson, N. Worse, A. Caplet and I. Fedele

WAVE-GOTHIK-TREFFEN

OLD STOCK EXCHANGE

4 PM

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

TRIO vis-à-vis plays works of John Cage, Sebastian Hoch, Konstantin Yaakov and Catharina Backman

Theater Atelier

7.30 PM

TRIO vis-à-vis plays works of H. Lachenmann, B. Furrer, B. Ferneyhough, N. Worsaee, G. Aperghis and a WORLD PREMIERE of Catharina Backman

DUNKERS KULTURHUS

4 PM

TRIO vis-à-vis plays Echoräume of Ulrich Kreppein for four simultaneous chamber music ensembles

WORLD PREMIERE

Theaterhaus, T2

8.30 PM

TRIO vis-à-vis plays works of Jesse Broekman, G. Scelsi, I. Fedele, C. Ambrosini, etc.

Haus der Musik im Fruchtkasten

7 PM

TRIO vis-à-vis plays works of Lachenmann, Nicolai Worsaae and Jesse Broekman: temA, Replication #1 and and anew

Groennegades Kaserne Kulturcenter

Suså Festival

5 PM

The Royal Danish Academy of Music

TRIO vis-à-vis plays temA at a Lachenmann Lecture Recital and gives a masterclass about new composing techniques in contemporary music

4.30 PM

LACHENMANN PERSPEKTIVEN FESTIVAL

TRIO vis-à-vis plays Helmut Lachenmann’s work temA and a premiere of the Spanish composer Alberto Hortigüela

Kammermusiksaal (Musikhochschule Stuttgart)

5 PM

A concert encounter with TRIO vis-à-vis, NOISE-BRIDGE and TRIO FORTAGNE with works of Dusapin, Neil Thomas Smith, Nicolai Worsaae, 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 Jahrhunderte, Südseite Nachts

8 PM

TRIO vis-à-vis plays works of Silvia Rosani. Texts of Kinga Toth

Hungarian Institute

8 PM

TRIO vis-à-vis plays temA (Helmut Lachenmann), Auf tönernen Füssen (Beat Furrer) and Querida Presencia (Ivan Fedele)

tonArt FESTIVAL ESSLINGEN

7.30 PM

TRIO vis-à-vis plays temA (Helmut Lachenmann) and Intimate Letter (Neil Thomas Smith) (WORLD PREMIERE)

echtzeit | werk_statt_festival

Concert hall, University of Music Stuttgart

8 PM

TRIO vis-à-vis plays temA (H. Lachenmann), TPIΓPAMMATON* (N. Andres Walsh) (WORLD PREMIERE) and Anastasis (Anetis Logothetis)

Wilhelmspalais

8 PM