Restricted area accessible to the enoa partners only.
© Michel Cooreman
Cathy van Eck, Blanka Radoczy, Isabelle Kranabetter
First performed - 31 May 2016
World premiere on May 31st, 2016
Musical performance in the public space for three singers and recorded voices.
Composition Cathy van Eck
Stage direction Blanka Radoczy
Dramaturgy & co-direction Isabelle Kranabetter
Costumes Claudia Irro
Soprano Elizabeth Marshall, Julia Moorman
Mezzo-soprano Andromahi Raptis, Sarah Théry
Baritone Bavo Orroi (bass baritone), Guillaume Paire
The voice as a phenomenon of passage is at the core of nocturnal events. Voices move between body and spirit, sensuousness and sense, affect and intellect. What happens when the voice detaches from the body – like it has been brought to perfection by technological media?
In the 19th century the disembodied voices coming from the novel phonographs had an enormous drawing power: Apparently now one could conserve the voices of the dead and bring them back to life once again. Even the inventor and researcher Thomas Edison worked on a device to communicate with the afterworld. But despite enormous scientific progress, the threshold between life and death still lies beyond our fantasy and possibilities. Access is reserved solely for legendary figures in our mythological tales. In the story of Orpheus it is also the voice that paves the way to the dead.
The voices of artistic singing every evening along the Isar River will be gradually modified technically – only traces of the bodies doing the singing will remain behind. The vocal transformations speak to us as if they were coming from different worlds. A game of obscurity and discovery, of presence and absence begins.
A production of the Münchener Biennale and the Theaterakademie August Everding, coproduced by Festival d’Aix-en-Provence, Les Théâtres de la Ville de Luxembourg and Queen Elisabeth Music Chapel with the support of enoa and Creative Europe Programme of the European Union