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May 02 to 05, 2019

L'Illa

Nuria Núñez, B3: Brouwer trio, Víctor Fajardo, Javier Povedano, María Royo, Rafa Villalobos

Chamber opera composed by Nuria Núñez and produced by the BBVA Foundation in collaboration with the Institut Valencià de Cultura. Interpreted by B3: Brouwer Trio, the baritone Javier Povedano and the actor Víctor Fajardo.

Nuria Núñez Hierro, composition, musical direction
Rafael Villalobos, dramaturgy and scenic concept
María Royo, video artist

Javier Povedano, baritone
Víctor Fajardo, actor

B3: Brouwer Trio
Jenny Guerra, violin
Elena Solanes, cello
Carlos Apellániz, piano
There is a man on the shore. No one on the island knows where he comes from, nor why his boat came to run aground just in his peaceful home. They do not know what to do. They suspect, analyze, argue. Man is any human: he can be white or black, hairless or hairy, skinny or fat. It does not matter what your physical appearance looks like, but what it represents. "It was not like them." That man is a foreigner. And it comes to muddy the peace of this little island.

With the aim of provoking a real confrontation of children with the contemporary language of music, of developing new ways and dramatic structures and of contributing to the creation of a new repertoire, the scenic project La Isla, a chamber opera about one hour of duration for public from ten years of age freely inspired by the book of illustrations with the same name by Armin Greder and texts by Gloria Fuertes, Italo Calvino and the Tuareg poet Hawad.

This project aims to show a complex theme, that of migration and exile, within a multidimensional poetic space that stimulates reflection and invites the public, both adults and children, to participate in the culture and better understand the world that gives them surrounds

Regarding the process of creating this piece, it is necessary to specify that, taking as starting points and reference the texts of Gloria Fuertes, Italo Calvino and Hawad, the composer and the stage director also assume the function of producing a new libretto of their own with the goal that the musical, dramaturgical and stage dimensions grow in parallel and can react continuously between them during the work process. For example, by impregnating the literature the different sound and spatial planes that make up the opera, or by awakening the scenography, subtle visual reflections that become musical. The opera is manifested as a living genre within a field of forces where its elements music, text, scene and space coexist forging a purely interdisciplinary experience.

The staff of La Isla is made up of a total of five interpreters; three musicians, a baritone and an actor, whose work transcends the category in which they are immersed. In this way, they are all musicians and actors at the same time, playing one role or another depending on the development of the story and allowing a constant coming and going between scenic actions that arise from music and musical actions that emerge from the scene.

The scenography will be developed in the form of video creations through which we will dialogue with the space at multiple levels. For example, in the work we can not only find sung, spoken, whispered texts but also projected texts. We will also use video recordings of the interpreters through which we will explore the issue of construction and recognition of one's identity.

The projections on stage will be added to the lighting resources, configuring a new sense of the scenic space, defined by curtains and corporeal elements but materialized by the light and the projected images. Images that allow us to suggest environments and places, but that can also participate in the dramatic action becoming acting elements. The incorporation of vision technologies and artificial intelligence translates the projections into the territory of the thinking images, where the actor can interact with the projected elements, even with the text, which reacts to their movements.

Finally, as a composer I feel very committed not only to the creation of new audiences but also to the creation of new repertoire for the current audience. I think that composing opera today implies to a certain extent reinventing it as a genre, especially if it is destined for a young audience that still has no prejudices in its listening habits. Also at the present time it is inevitable to rethink the existing stage structures and venture to experiment and develop new formats. I think it is very necessary to build bridges that bring contemporary music closer to the youngest audience, since they are actually the most capable of understanding the current diversity of sound languages. This project is presented as a unique opportunity to challenge the public to live another kind of aesthetic experiences and to let them know a part of our cultural heritage that is not found in the mass media.

The young audience is open and curious and responds positively when taken seriously. For this reason, I believe that it is essential to face the process of musical composition with honesty, from a clear aesthetic position and through a sound language of its own, contributing to the project the coherence, depth and complexity of a serious artistic proposal that does not fall into scenic mediocrities or in musical trivializations.

Programación

05/02/2019  11:00hTeatro RialtoConcerts '19
05/03/2019  11:00hTeatro RialtoConcerts '19
05/05/2019  11:00hTeatro RialtoConcerts '19

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culturarts generalitat valenciana

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