Performer

FREITAG AUS LICHT

Karlheinz Stockhausen (1928-2007)
Freitag aus Licht (1991-1994)

Friday from Light is the opera of temptation: the temptation is to use the body as if it were a musical instrument, the temptation to turn one sound into another. A special interest for Karlheinz Stockhausen is the focus on the way sound moves through space, creating mobile sound in relief.

Freitag features three musical dimensions: the first, Weltraum, is a composition for electronic music by Karlheinz Stockhausen which he produced in his studio. The second has twelve scenes of ballet performed by twelve pairs of dancers dressed up as everyday beings and objects. The third has dramatic action involving the main characters in the libretto and their respective children.

FREITAG’S SYNOPSIS

Freitags-Gruss | Friday’s greeting

Large flames lighting up the foyer are from candles that gradually melt away. The electronic music of Weltraum can be heard not only in the foyer, but also in the auditorium.

Acts 1 and 2: Freitag-Versuchung | Friday’s Tempation

Eve and Ludon (a new personification of Lucifer) meet, and Ludon offers her the hand of his son, Caino, but she hesitates.

Soon after, Eve, while walking with her children who form an orchestra, runs into Ludon with his children who form a choir. The two groups play, one after the other, and Ludon suggests to Eve that the choir and orchestra play together.

Eve agrees, and the children play a tutti. Ludon goes over to the choir and sings with them. When Ludon and Eve are left by themselves, Eve finally agrees to wed Caino.

The next scene occurs at night. A lake can be seen shimmering in the moonlight. Eve meets Caino and, in union, they sing a sensual duo. Eve leaves him, sailing away on a ship; a red comet crosses the heavens; and Michael, betrayed, utters a heart-rending cry.

A battle is being waged between Ludon and Eve’s children; some fall down wounded. Just as Eve’s children appear to be winning, a flying rhinoceros comes to the rescue of Ludon’s children. They all disappear in great commotion and fury.

Eve while praying, sees a vision of Michael, then, further in the distance, a divine light.

Freitags-Abschied | Friday’s Farewell

As was the case for Friday Greeting, the work Weltraum can be heard in the foyer and other parts of the building. The audience walks out into a strange orange-tinted haze.

TEAM

Le Balcon
Children orchestra of Conservatoire à Rayonnement Régional de Lille
Choir: Maîtrise Notre-Dame de Paris
Maxime Pascal, musical direction
Silvia Costa: stage direction, scenography
Rosabel Huguet Dueñas, stage direction assistant
Elena Zamparutti, scenography assistant
Bianca Deigner, costume designer
Domitile Guinchard, costumes assistant
Bernd Purkrabek, light designer
Florent Derex, sound projection
Augustin Muller and Étienne Démoulin, electronics
Emilie Fleury, children choir’s conductor
Alain Muller, singing coach

Jenny Daviet: Eva – soprano
Halidou Nombre: Kaino – baritone
Antoin HL Kessel: Ludon – bass
Charlotte Bletton, Lufa – flute
Iris Zerdoud: Elu – bassethorn
Sarah Kim, Haga Ratovo, Synthibird – synthesizer
Rosabel Huguet Dueñas (the arm), Suzanne Meyer (the mouth), Jean-Baptiste Plumeau (the leg) – dance

Singers: Emmanuelle Monier, Pauline Nachman, Marie Picaut, Michiko Takahashi, Léa Trommenschlager, Ayako Yukawa, Frédéric Albou, Arthur Cady, Bertrand Bontoux, Jean-Christophe Brizard, David Colosio, Florent Martin

Demiurge Children: Colette Verdier, Marin Rayon, Alexis Mazars, Stéphane Poulet, Edgar Cemin, Arsène Jouet

Production Opéra de Lille, Le Balcon in co-production with the Festival d’Automne à Paris & the Philharmonie de Paris

MORE INFO:

Le Balcon

Opéra de Lille

Festival d’Automne à Paris

Silvia Costa

Pictures by © Simon Gosselin

La Femme au marteau

On the cycle of the six piano sonatas by Galina Ustvolskaja

Direction and stage design, Silvia Costa
With Hélène Alexandridis, Marief Guittier, Anne-Lise Heimburger, Rosabel Huguet Dueñas & Pauline Moulène
With the piano sonatas of Galina Ustvolskaja, performed by Marino Formenti
Costumes, Laura Dondoli
Sound design, Nicola Ratti
Lighting, Marco Giusti
Text, Umberto Sebastiano
Assistance, Rosabel Huguet Dueñas

A production by the Comédie de Valence, centre dramatique national Drôme-Ardèche in co-production with MC93 – Maison de la Culture de Seine-Saint-Denis (Bobigny), Festival d’Automne à Paris, Théâtre National de Bretagne (Rennes) & Maillon, Théâtre de Strasbourg – scène européenne

The inspiration for Silvia Costa’s latest creation stems from the fascinating mystery of the music of the Russian composer, Galina Ustvolskaja (1919-2006). Dimitri Chostakovitch’s only pupil, the musical experimentations that she embarked upon were of radical and personal research, totally breaking with the style of her master.

Nicknamed “the lady with the hammer” because of the highly physical relationship that her scores created with the keys, Galina Ustvolskaja forged a musical universe characterised by its militantly primitive simplicity. Inspired by the composer’s strength of character and intensity of her music, the latter still rarely performed today, Silvia Costa conjures up a visual story for each of the six piano sonatas written between 1947 and 1988, performed live by Marino Formenti. Six female characters, played by actresses of different ages, make up living tableaux in which desires, fears and nocturnal visions find their expression, seized upon in the intimate moment in which they are confronted with love and death. At the frontiers of theatre, dance, music and the visual arts, Silvia Costa’s work is a quest for choreographic purity and sparsity. She delves deep into the music of Galina Ustvolskaja and in it she finds an invitation to freedom, a means by which to imbue moving bodies with an unshakeable thirst for life.

Gallery pictures ©Simon Gosselin & Head picture ©Cristina Coral

IHR SEID BEREITS EINGESCHIFFT

IHR SEID BEREITS EINGESHIFFT | 4 works by Silvia Costa

The Lake Constance panorama and a sentence from Blaise Pascal’s PENSÉES are the inspiration for a series of performances and installations that the artist Silvia Costa creates for Bregenz, which thematize the natural infinite sequence of day and night, of life and death.
In DE RERUM NATURA, Lucretius describes the relationship of a viewer to the open sea, which reveals itself to him while he observes from the safe earthly border. But if you want to experience reality, you have to sail out bravely.

IHR SEID BEREITS EINGESHIFFT consists of four works that were specially created for art locations in Bregenz; if you want to experience it, you also have to go out, have to move from one place to another. The work is only completed through one’s own effort: the viewer: inside the picture, becomes the subject of the representation.

Concept, Direction, Scenography: Silvia Costa
Field Recordings, Music, Sounddesign: Nicola Ratti
Costume: Laura Dondoli
Artistic collaboration: Rosabel Huguet Dueñas
Scenography collaboration: Alessio Valmori
Sculptures & special accesoires: Istvan Zimmermann & Giovanna Amoroso, Plastikart Studio

“We sail within a vast sphere, ever drifting in uncertainty, driven from end to end. When we think to attach ourselves to any point and to fasten to it, it wavers and leaves us; and If we follow it, it eludes our grasp, slips past us, and vanishes for ever. Nothing stays for us. This is our natural condition, and yet most contrary to our inclination; we burn with desire to find solid ground and an ultimate sure foundation whereon to build a tower reaching to the Infinite”
Blaise Pascal

Etappe 1 – Festspielhaus | SEE STUDIO

To elude the farewell

with an organ composition by Kali Malone

The panorama occupies the right side wall of a space completely covered with wood. The vision of water forcefully enters the room, flows through the glass with its shades of blue and the regular lapping of its waves. This beauty leaves no way out, magnificent and terrifying. It seems to be sailing, in the belly of a ship, carrying the body of a young child through a ritual journey, a span of life. On this journey against an impalpable wind I wanted the music of Kali Malone, performed on the organ, an instrument that uses natural forces, compresses the air, blows the wind that inflates the sails and pushes the ship.

with Florian Zörner, Rosabel Huguet Dueñas, Anna Martens, Verena Reiter, Gloria Dorlinguzzo, Johannes

***

Etappe 2 – Vorarlberg Museum | PANORAMARAUM

Welfare is achieved with zeal, otherwise nothing

Due to the particular architecture of the room, the panorama is seen here from above and framed as if from the lens of a huge camera and is unreal in its perfection and immensity. A young creature inhabits this space, she is perhaps its guardian, and her body seems to have undergone millennial modifications from a sick and black sun that has calcified the bones in ways they shouldn’t have, from an unstable light that has taken away all color. The only thing it brings with it are the sounds of the outside world. The soundtrack of that polarized and distant postcard is his treasure and his company. A form of hope and prayer perhaps.

with Sarah Barth

***

Etappe 3 – Vorarlberger Landestheater |BOX

Throw everything you’ve got into the fire, even your shoes

sound installation based on “Prometeo chained” by Aeschylus

In front of Prometeo the panorama disappears, it goes out immersed in the night black of space. All what remains is the sound and unstable sandy ground of a deserted beach on which it is difficult to walk. Nature becomes dark and rebels in front of the figure who with a violent action conquered an element foreign to him and not granted to man. There is no remedy for this act. The theft of Prometheus is the tearing of the image, the hole in the canvas from which a tormented voice comes. The infinite lament of man. The sound is treated as a body dragged, lifted, struck, in the check of a mechanical movement that does not stop, an infinite way of no return.

with Luzian Hirzel

***

Etappe 4 – KUB Sammlungsschaufenster

And God rested on the seventh day

Being embarked here finds the space for a common enterprise. From sharing from generation to generation the creation of a new landscape from nothing, to looking for ways to tell it, represent it, preserve it. A grandmother, a mother and a daughter are seated on a bench in order of age. They have a blank canvas in front of them. They paint together, as they can, and try to reproduce a panorama. They will do this until the picture is finished.

PREMIERE Friday, 4. Juni 2021

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Images © anja koehler | andereart.de

“Myitkina” by Chan Sook Choi

The new version of “Myitkina” by Chan Sook Choi will be presented in November/19 at Seoul’s Coreana Museum of Art.

“Myitkina” is a story of 20 women in Myitkina, Burma. They appear at multiple photos and documents, but no witness was revealed. Myitkina in this work is a representation of single women, but at the same time it is a representation of prior discussions and results of research related to the Japanese Military “Comfort Women”. Testimonies of three Myitkinas in the video sometimes permeate or penetrate existing controversial arguments and subtly contradict each other at times. Therefore no word from one of three Myitkinas can be an ideal representation of the Japanese Military “Comfort Women”.

Myitkina is not an “object” which can be captured or reproduced from a single point of view. It is a “living being” who have existed in various forms at a variety of moments.

Art work by Chan Sook Choi
Myitkinas: Rosabel Huguet, Yon Natalie Mik, Kotti Yun
Curated by EunJoo-Lee
Coreana Museum of Art Seoul | 21st November – 22nd December 2019

Myitkina 2019 ©

Sous d’autres cieux by Maëlle Poésy

SOUS D’AUTRES CIEUX

Aeneas must flee and leave a burning Troy behind with some of his loved ones. Guided by the Gods, pursued by Juno’s wrath, he begins his quest for a hospitable land where he can found a new city. Of the journey told by Virgil in the Aeneid, Maëlle Poésy and her accomplice, playwright and author Kevin Keiss, chose to keep only a few fragments from the first six books of the epic poem. Together, they imagined a narration of the memory, punctuated by departures, arrivals, and shipwrecks. A space and time where the past and future forever interlock with the present. A research into the perceptible and the physical, with both actors and dancers, and which explores the relationship of exiles with their journey and with memory. A play which keeps transforming, in which the dead talk to the living and gods talk to men, in which the sets fade away and the past resurfaces in the present, turning exile into a world between worlds, a state of stateless waiting.

An actress and director, Maëlle Poésy studied at the École supérieure d’art dramatique du Théâtre national de Strasbourg. After graduating, she founded the Crossroad company, with which she has explored what she calls a “theatre of confrontation” revolving around movement, a “rhythm factory” which questions society and its individual components.

A doctoral student in classical literature and a specialist of ancient theatre, Kevin Keiss is a writer, translator, playwright, and director. He co-wrote Those who wander aren’t wrong with Maëlle Poésy, which played at the 71^st edition of the Festival d’Avignon.

A poet who lived through the end of the Roman Republic (70-19 B.C.), Virgil created a body of work at once clear and pure, still seen today as the most powerful of all Roman Antiquity.

With Harrison Arevalo, Genséric Coléno-Demeulenaere, Rosabel Huguet, Marc Lamigeon, Roshanak Morrowatian,Philippe Noël, Roxane Palazotto, Véronique Sacri

And the voices of Hatice Ozer

Adaptation Maëlle Poésy, Kevin Keiss

Text, translation, dramaturgy Kevin Keiss

Direction Maëlle Poésy

Choreography Maëlle Poésy, Juan Kruz Diaz de Garaio Esnaola, Roshanak Morrowatian, Rosabel Huguet Dueñas

Scenography Damien Caille-Perret

Lights César Godefroy

Video Romain Tanguy

Sound Samuel Favart-Mikcha assisted by Alexandre Bellando

Costumes Camille Vallat assisted by Juliette Gaudel

Direction assistant Aurélie Droesch Du Cerceau

Production Compagnie Crossroad

Co-production Théâtre Dijon Bourgogne Centre dramatique national, ThéâtredelaCité Centre dramatique national Toulouse Occitanie, Théâtre Gymnase-Bernardines (Marseille), ExtraPôle Provence-Alpes-Côte d’Azur, Festival d’Avignon, anthéa antipolis théâtre d’Antibes, Le Liberté Théâtre scène nationale (Toulon), Scène nationale du Sud Aquitain, Théâtre Firmin Gémier/La Piscine (Châtenay-Malabry)

With the support for the 73rd edition of the Festival d’Avignon : Spedidam

With the participation of Jeune théâtre national

Residency La Chartreuse-CNES de Villeneuve lez Avignon

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Photos by Jean-Louis Fernandez

PRESS

Giudizio.Possibilità.Essere by Romeo Castellucci – Kunstfestpiele Herrenhausen

Giudizio.Possibilità.Essere

Romeo Castellucci / Socìetas

Exercises to “Der Tod des Empedokles” by Friedrich Hölderlin

In Giudizio.Possibilità.Essere Romeo Castellucci moves into a gym: a place that Castellucci calls a ‘false’ place for the theatre. But for him the very space to fulfil the unorthodox beauty of Hölderlin’s language. Here Hölderlin’s poetry can be experienced in a different way: as practice, discipline, as work on the present.

The Italian theatre-maker Romeo Castellucci, whose highly visual theatre usually refuses stage dialogue, approaches Hölderlin’s uncompleted tragedy ‘The Death of Empedocles‘ in a staged installation.

In the gym, the audience is provisionally welcomed on mats or high-jump cushions. They see and hear a textual score that is closely linked to Hölderin’s tragedy. A company of young women play the various characters. Are they schoolgirls? Or perhaps members of some female community? Are they rehearsing the performance behind closed doors? Who are these youngsters, what do they want and what are they portraying? They must be Empedocles, the heretic who leaves the community of the city to climb Mount Etna alone and throw himself into the crater, into the fire of being.

When the audience enters this ‘false’ place, they find themselves in the middle of a theatrical act, which resembles a contest between young women who dedicate the language of poetry to the theatre.

With Anja Becker, Silvia Costa, Laura Dondoli, Evelin Facchini, Rosabel Huguet, Greta Ipfelkofer, Maj Britt Klenke, Anne Mehlinger, Astrid Meier, Irene Petris, Andrea Rudolf, Laura Signoriello, Alice Torriani, Marie Zwinzscher

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Photos by Irving Villegas | Kunstfestspiele Herrenhauses 2019 | 23.05.2019 Romeo Castellucci / Socìetas – Übungen zu ‚Der Tod des Empedokles‘ von Friedrich Hölderlin.

WRY SMILE DRY SOB by Silvia Costa

WRY SMILE DRY SOB

conception and set Silvia Costa
music Nicola Ratti
costumes Laura Dondoli
collaboration for the set Maroussia Vaes
artistic collaboration Rosabel Huguet Duenas

with Gregoire Gros, Zoe Hutmacher, Fabienne Trussel
and Rosabel Huguet Duenas, Silvia Salzmann, Leonie Humitsch

a production of Landestheater Bregenz

” The scenic installation I am imagining is a distillate of the feeling and the sensation I always had reading the theater Beckett’s text Spiel. In particular this sentence is always touching me deeply
U: ….not merely all over, but as if… never been “
The circular situation Beckett has created, from which it looks like there’s no exit for the three characters, has inspired me the conception of a set, that as an island it will be occupying the centre of the space.
It is like a condensed house, a domestic situation that becomes too tight and concretely it will consists of a assemblage of furniture, wardrobes, chairs, dressers – the domestic image of a complex, obscure dimension in which the actors will dive into and which offers them no way of escape. They are close to each other and separated at the same time. Like in the Beckett text: they speak apart but during the chorus they overlap, they are together.
The dramaturgy of the duration of the installation will be developed in a musical and choreographic way. I have the will to transform into gestures and actions the memory of the text the audience will have listened right before. It is like to show the inside or the three characters, the part that is not shown. For that reason each characters will be complicated, amplified, and duplicated by additional presences: three danders will be stuck amidst the furniture, acting as a mass, emanating from the actors themselves.
These other bodies carry a sense of suffocation into the scene: they represent the impossibility to take the decision to get away. They are at once the black shadow of the characters, once the desires and pulsions, they are consuming the bodies of the character until when they will disappear, as if there no other solution. No leave traces, in fact, as if never been.”

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photos by anja köhler | andereart.de

In Between by Mikel Aristegui

“In Between” is the first dance performance by Mikel Aristegui produced in Galicia. The creation process began last February through some meetings between the interpreters in Allariz – Ourense: Nuria Sotelo, Rosabel Huguet and Mikel Aristegui.

‘In Between’ is that space between gender canons, between the masculine and the feminine; the definition of the non-binary genre, the need to enter a fluid gender dynamic that protects the person as such, beyond the sex that one represent.

Premiere the 15th of November at the Auditorium of Ourense, Spain.

Direction & choreography: Mikel Aristegui

Performance: Rosabel Huguet Dueñas, Nuria Sotelo & Mikel Aristegui

Light design: Octavio Mas Ibañez

Music: Gabor Csongradi

Video: Camila Rapetti

Graphic design: Marta Romero

Production: Mikel Aristegui

In collaboration with: Galicia Contemporary Dance & Municipal Auditorium of Ourense

Show performed in a safe environment of respect for LGTBIQ collective

Photos by Rubén Vilanova

More info!

CORBEAUX by Bouchra Ouizguen in the frame of “Claiming Common Spaces” @ Berliner HAU

Glad to have the opportunity to perform in the Berlin version of this fantastic work!

The Moroccan choreographer Bouchra Ouizguen teamed up with Corbeaux, meaning raven or craw, and developed a performance specifically designed for public spaces. After having been performed in Marrakesh, New York, London, and Paris, the performance will be specifically adapted for Berlin. The project focuses on singing and choreography and will start out with a workshop for a group of Berlin-based women. Together, they will develop a living sculpture: wearing black robes and white headscarves, they will move through the city in silence, only in order to then disrupt the silence through jerky movements and screams. In continuous repetitions and modulations, they will traverse various trance-like collective movements and sound expressions that rise increasingly and ultimately culminate in a primal scream. Inspired by their liberated and wise image of the role of women and femininity’s societal meaning Ouizguen will draw from old Moroccan rituals in order to create an intimate experience.

Location: Theodor-Wolff-Park (Outdoor) / 22.6., 18:00

Location: Parking deck Hallesches Ufer 60, 10963 Berlin / 21.6., 18:00 + 22:00

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Photos by Dorothea Tuch

El Prometeo at Opéra de Dijon

El Prometeo, by the Italian composer Antonio Draghi, has not been performed since 22 December 1669! Composed on a Spanish libretto based on the play by Calderón, it was performed only twice that same year, at the Imperial court of Vienna, for the birthday celebrations of Maria Anna of Austria, queen of Spain.

Today, only one manuscript of the score still exists. It is from this manuscript, in Vienna, that Leonardo García Alarcón, who has made a speciality of bringing to light forgotten masterpieces, has restored and updated this missing link in the history of Opera, between the Venetian lyric tradition and that which reigned in Vienna over the following centuries.

MUSIC Antonio Draghi / Leonardo García Alarcón

LIBRETTO Antonio Draghi, based on the play by Calderón

CAPPELLA MEDITERRANEA

NAMUR CHAMBER CHOIR
MUSICAL DIRECTOR Leonardo García Alarcón

STAGING Laurent Delvert, according to working sketches from Gustavo Tambascio

STAGE SETS Ricardo Sánchez Cuerda
COSTUMES Jesús Ruiz
LIGHTING Felipe Ramos

CHOIR CONDUCTOR Thibaut Lenaerts

CHOREOGRAPHY Anna Romaní

STAGE ASSISTANT Rosabel Huguet

STAGE SETS ASSISTANT Juan José González Ferrero

CAST:

PROMETEO Fabio Trümpy
PELEO Scott Conner
TETIS / LA ESTATUA Mariana Flores
NISEA Giuseppina Bridelli
SATYRO Borja Quiza
MERCURIO Zachary Wilder
MINERVA Ana Quintans
HERCULES Kamil Ben Hsain Lachiri
NEREO Victor Torrès
PANDORA Anna Reinhold
JUPITER Alejandro Meerapfel
ARACNE Lucía Martín Cartón

DANCERS Daniel Alarcon, Rosabel Huguet, Anna Romaní, Vladimir Hugot

Photo Credit: Gilles Abegg – Opera de Dijon

Hommage à Lorca | Opéra de Dijon

This concert is an homage to a poet who remains one of the most intimately anchored in the heart of the Spanish: Federico García Lorca. Around his poems and texts, the 12 Spanish songs that he composed for voice and piano, the evening will present all forms of artistic expression, from dance to painting, to celebrate the poetic and human commitment of the artist.

The Dijon Opera has called upon stage director & designer Damien Caille-Perret (Orphée & Eurydice 2017, The Ring in 2013 at the Dijon Opera) reader and long-time admirer of the poet, and Nicolas Chesneau (Curlew River in 2016) as musical director: emotion is on the programme.

CREATION & STAGING Damien Caille-Perret

DRAMATURGY Laure Bonnet
PIANO & MUSICAL DIRECTOR Nicolas Chesneau
SOPRANO Natalia Labourdette
GUITARS Thomas Keck
ACTOR Vladislav Galard
DANCER Rosabel Huguet
LIVE PAINTER Gaël Davrinche

With the participation of the “Maîtrise de Dijon” choir members

More HERE!!

l’Ora Magica by Silvia Costa

Tic tac tic tac Tic tac Tic tac tic tac Tic tac Tic tac tic tac Tic tac
Finally! But where were you? Kids, you’re late!
I have the keys to get you in just at a precise time…
… and only at that magic time a strange character it will show to you. A ghost or spirit imprisoned in his grave? Something out of the earth made it a light substance, so bright that is not allowed anymore to go out in the sunlight. But he will tell you his story with his own words. Here, is the time to enter…

by Silvia Costa
with Laura Dondoli and Rosabel Huguet Duenas (for the catalan version)
text by Silvia Salvagnini
music by Lorenzo Tomio
a production of Uovokids – Milano and Dadàbarcelona

photos by Iris Blumm

About Silvia Costa