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

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 Francesco Filidei, Cristóbal Halffter 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