VOCI POSSIBILI | workshop sulla vocalità contemporeanea I - Tempo Reale

Subscribe to our newsletter

    I agree to use my personal data according to the Privacy Policy which I have read and understood.

    Tempo Reale/Education /VOCI POSSIBILI | workshop sulla vocalità contemporeanea I

    VOCI POSSIBILI | workshop sulla vocalità contemporeanea I

    VOCI POSSIBILI | workshop sulla vocalità contemporeanea I

    Workshop on contemporary vocalism

    First event
    18-20 January, 2019
    Tempo Reale, Florence

    A study programme conceived and curated by NicoNote and Monica Benvenuti, in collaboration with Tempo Reale.

    Aimed towards students from various cultural backgrounds, the programme plans to explore contemporary vocalism with a transversal approach. The investigation covered in this course is designed to be inclusive of both academic and empirical education. The training programme will be structured in regular workshop seminars, the first of which is planned for 18-20 January, 2019, to be followed by a second event in September, 2019. The workshop is intended as a moment of reflection, of research, and of in-depth study of contemporary vocalism in a manner which is open and responsive to multiple contributions, focussed on themes to be identified and introduced during the events. Like in a tapestry, every voice is a thread that tells a story, carrying entire worlds within and suggesting new ones. The workshop will investigate these multiple vocalisms, following the paths of what are known as “extended vocal techniques”.

    The first event offers a CASE STUDY on compositions by John Cage, Kurt Weill, Luciano Berio, Sylvano Bussotti, and others who will be indicated in progress. The investigation will dwell on scores that recall many voices, from different worlds and phonetic pathways, requiring different vocal approaches and expressive territories. The instructors will work empirically within space, going physically across fragments of improvisation, from an analysis of the score to the identification of the necessary voices. To a vocalist, the need is first of all to intercept an almost dramaturgical cohesion with the score, all the way to the voices required for performance. All research is compliant to the vocal instrument.

    The workshops will take place in Tempo Reale’s Studio B.

    Friday, January 18th, 14-19
    Saturday, January 19th, 11-13 and 14-19
    Sunday, January 20th, 11-14

    Places are limited to a minimum (7) and a maximum (20) amount of participants.
    Cost: 140€ (15 hours)
    The deadline for participation is January 14th, 2019, register via email to corsi@temporeale.it

    Download the form

    Registrations are to be considered confirmed only if validated by the payment of the registration fee. There will be no selection to access the course; however, a brief cv will be appreciated. All registrations will be accepted until reaching the maximum number of participants. Should the minimum number of participants not be reached, the course will not take place.

    Instructor biographies:

    NicoNote and Monica Benvenuti are two vocalists and colleagues in the field of living performance. Both have been involved in sound and voice research for a number of years, with original and peculiar artistic itineraries. They first met ten years ago at Milan’s Teatro dell’Elfo, as guests of the “Cantami, o Diva” festival, an original review of contemporary vocalism.

    Monica Benvenuti, is a Florentine singer, holding a degree in Humanities; early in her career she was mainly invested in the baroque and classical repertoire, later developing a specific interest for contemporary and 20th Century music, leading her to explore the potential of human voice in relation to different languages, from acting to opera singing, using multiple expressive levels. She has performed in Germany, France, Spain, Belgium, Czech Republic, Hungary, Sweden, Japan (Tokyo, Suntory Hall), Brazil, and the United States, often with music composed specifically for her. In 2004 she was invited by Sylvano Bussotti to be the lead singer in La Passion selon Sade at Teatro de la Zarzuela in Madrid, conducted by Arturo Tamayo. Other works by Bussotti she has performed are the opera Silvano-Sylvano, at the Accademia di S. Cecilia in 2007, with a role written specifically for her, the world premiere of the music for Rara Film in 2008, and Furioso di Amneris, Ulrica, Eboli, Azucena e delle streghe for voice and orchestra, in the “I Pomeriggi” Orchestra of Milan’s 2013 season, repeated in 2016 in Lugano. She has performed as singer and actress, along with Roberto Herlitzka, in Georg Trakl e la sorella Grete, rivelazione e declino at the Opera of Rome, directed by Beppe Menegatti. In 2007 she had the leading role at the world premiere of Beards, by the Belgian dramatist Stefan Oertli, which was performed, among other places, at the Theatre de la Place of Liège and at the Bozar in the City of Brussels. After many experiences in the world of musical theatre, she had her debut as an actress with Becketts’ monologue “Not I”, directed by Giancarlo Cauteruccio (Italian Critics’ prize 2006). Over the past years she has performed Pas de Cinq and Der Turm zu Babel by Mauricio Kagel, Como una ola de fuerza y luz by Luigi Nono, various editions of Schoenberg’s Pierrot Lunaire, a great number of John Cage’s works for voice, and Le Marteau sans maître by Boulez. She has recorded for Arts, Materiali Sonori, Nuova Era, Sam Classical, ARC Edition, Ema Records, Sheva Collection. (www.monicabenvenuti.com)

    NicoNote is an artistic project and an alias created in 1997 by Nicoletta Magalotti (1962), an Italo-Austrian based in Fellini’s Rimini. Singer, author, performer, active as an interdisciplinary artist in multiple territories related to theatre, music, installations, and clubbing. Her training comes from experts such as Yoshi Oida (Peter Brook), Woytek Krukosky (Akademia Ruchu), Roy Hart Theatre (F) and the Gabriella Bartolomei school in Florence. She has performed in music and theatre tours in Italy, Europe, Israel, Canada, Argentina, and Brazil. In the mid-80s she was lead singer in the band Violet Eves, one of the main figures of the Italian new wave scene, produced by the independent label IRA Records of Florence along with Litfiba, Diaframma, Moda, and Underground Life. In the 1990s, with DJ David Love Calò, she curated a privee/installation (within the ground-shaking disco Cocoricò), the Morphine, a location for radical musical and performative experiments. Throughout her peculiar interdisciplinary itinerary she has often been directed by artists such as Romeo Castellucci / Socìetas Raffaello Sanzio, Francesco Micheli, Patricia Allio, Maurizio Fiume, Fabrizio Arcuri and many more, and collaborated with artists from diverse backgrounds such as Patrizio Fariselli from the band Area, Mauro Pagani, the house producer Mas Collective, Teresa De Sio, Dj Rocca, Piero Pelù and Andrea Chimenti, Ghigo Renzulli, Roberto Bartoli (Tommaso Lama, Steve Grossman), Stefano Pilia (In Zaire, Afterhours), White Raven, Enrico Gabrielli (Calibro 35, PJ Harvey), Luca Bergia (Marlene Kuntz) and Davide Arneodo (Perdurabo, Marlene Kuntz), Elisabeth Harnik (Joëlle Léandre,John Butcher), and more. She has published and featured in a number of albums from 1985 to now, with various pen names: Violet Eves, Panoramics, Nicoletta Magalotti, AND, Dippy Site, Slick Station. With the name Niconote she has published Alphabe Dream (Cinedelic 2013), Emotional Cabaret (DocLive 2017), produced with Dani Marzi and Alfredo Nuti Dal Portone, and now also an entire album of reinterpretations of songs by Violet Eves, titled Deja V. (Mat Factory 2018). In 2018 she also had her debut as Molly Bloom in Ulysses Now, by the Coniglio Viola group, for the Festival delle Colline in Turin. She has recently begun a collaboration with the director and performer Silvia Costa, dedicated to Voice Observation. (www.niconote.net)