Name: Soliloquy
Start: 2023-10-16T00:00:00.000Z
End: 2023-10-16T00:00:00.000Z
Location: Auditorio de Zaragoza

Organization

Conductor

Asier Puga

Singer

Countertenor

Carlos Mena

Auditorio de Zaragoza

Orchestra

OCAZEnigma

Soliloquy

Zaragoza

Spain

Public

Concert

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Off-Stage Artist

On-Stage Artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Bass

Soprano

Baritone

Contralto

Mezzo-soprano

Bass-baritone

Tenor

Alto

Child vocalist

Continuo

Silent

Spoken

SOLILOQUY

The following program is a journey through sound, or rather, through sounds; but it is also a reflection on the possibilities of going beyond the logic of a conventional musical program (cannot poetry, theater or the reflective process itself be musical?).
The program begins with the final fragment of the famous monologue of Segismundo de la Vida es Sueño, by Calderón de la Barca, a soliloquy that invites us to reflect on dreaming and our “freedom” as dreamers. Immediately afterwards, the electronic sounds of Pauline Oliveros (1932-2016) -one of the pioneers of electronic music- submerge us in another reflection on the figure of women in the 19th century through the use and electronic treatment of a well-known aria. by Puccini.
At the center of the program are two world premieres for countertenor soloist and ensemble. One by the Basque composer Iñaki Estrada (1979), in which through the electronic treatment of castrati recordings -usually intended to interpret female roles- he reflects on the sound reality of the genre. For its part, the premiere of the composer Núria Giménez-Comas (1980) will be based on a text by the renowned philosopher and art curator Paul B. Preciado. The soloist countertenor in both works will be Carlos Mena.
But that sound journey that this program tries to be, also about the ability to dream differently, does not stop there. The program unfolds (or overflows again) reflecting on the creative act itself (of the work or the act of programming itself?) with a fragment of the now mythical conference by the French philosopher Gilles Deleuze (1925-1995) on the act of creation, and that, like Calderón de la Barca (1600-1681), invites us to think about the nature (and dangers) of dreaming.
The program is completed with a work of fascinating sound poetry by Francesco Filidei, and as its own title indicates, each gesture (like dreams) has its end.

English

El siguiente programa es un viaje a través del sonido, o mejor dicho, de los sonidos; pero también es una reflexión sobre las posibilidades de desbordar la lógica de un programa musical convencional (¿o la poesía, el teatro o el propio proceso reflexivo no puede ser musical?).
El programa comienza con el fragmento final del célebre monólogo de Segismundo de la Vida es Sueño, de Calderón de la Barca, un soliloquio que nos invita a reflexionar sobre el soñar y nuestra “libertad” como soñadores. Inmediatamente después, los sonidos electrónicos de Pauline Oliveros (1932-2016) – una de las pioneras de la música electrónica- nos sumergen en otra reflexión sobre la figura de la mujer en el siglo XIX a través del uso y tratamiento electrónico de una conocida aria de Puccini.
En el centro del programa se presentan dos estrenos absolutos para contratenor solista y ensemble. Uno del compositor vasco Iñaki Estrada (1979), en el que por medio del tratamiento electrónico de grabaciones de castrati -habitualmente destinados a interpretar roles femeninos- se reflexiona sobre la realidad sonora del género. Por su parte, el estreno de la compositora Núria Giménez-Comas (1980) se basará en un textos del reconocido filósofo y comisario de arte Paul B. Preciado. El contratenor solista en ambas obras será Carlos Mena.
Pero ese viaje sonoro que intenta ser este programa, también sobre la capacidad de soñarnos diferentes, no queda sólo ahí. El programa se desdobla (o se desborda nuevamente) reflexionando sobre el propio acto creativo (¿de la obra o del propio acto de programar?) con un fragmento de la ya mítica conferencia del filósofo francés Gilles Deleuze (1925-1995) sobre el acto de la creación, y que al igual que Calderón de la Barca (1600-1681), nos invita a pensar la naturaleza (y peligros) del soñar.
El programa se completa con una obra de una poética sonora fascinante de Francesco Filidei, y que como su propio título indica, cada gesto (como los sueños) tiene su final.

español

Soliloquy by Various, al. 16 urr. 2023, Noiztik (2023/2023), Zuzendaria Asier Puga, Auditorio de Zaragoza, Zaragoza, Spain

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