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Archive for the Category: Ictus

[Ictus] Ictus at Brigittines, 23/10: Jürg Frey, the calmest music in the world.

Rien de plus radicalement serein n’a été écrit depuis John Cage.






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[Ictus] ICTUS 2019-20: discover the new season

Nouveaux spectacles // Nouveaux concerts // En tournée // Academy // Vanitas











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[Ictus] NIGHT CONCERT with Sophie Whettnall

Works by José Maria Sanchez-Verdù, Klaus Lang, Michael Pisaro, Luciano Berio, Tarquinio Merula, Saint Kassia from Constantinople, Salvatore Sciarrino, James Tenney, John Cage.











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[Ictus] In May : Waves | Darker | Concrete | Safe | Einstein

 











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[Ictus] Clemens Gadenstätter: NERONE’S LYRA (Kanal & Bijloke)

A MUSICAL FICTION ABOUT NERONE THROUGH VOCODERS AND GUITAR TALKBOX











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[Ictus] SAFE in Berlin (Pfleiderer, Omelchuk), March 13th

Safe starts out like a live concert, but gradually transforms into a sound journey into the innermost being, using headphones and the binaural stereo technique.











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[Ictus] Fafchamps plays Feldman | Brigittines, March 7th

Thirty years after his anthological recording for SubRosa, Jean-Luc Fafchamps performs once more this supernatural page for solo piano, in one of the most magical concert places in Brussels.











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[Ictus] Pesson / Lescot: Trois Contes [World premiere, Lille Opera]

A NEW OPERA after H. Ch. Andersen, L. Foschini and E. A. Poe.











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[Ictus] Ictus at BRIGITTINES (Febr 7th | March 7th)

Gérard Pesson, Gavin Bryars, Christopher Fox, Philip Glass.











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[Ictus] Einstein on the Beach (Philip Glass), with Suzanne Vega

An open space and an Einsteinian time dilation for this very unusual concert: 200 minutes of rhythmic high-speed micro-surgery, contrasting dramatically with the text that is whispered into the mic. We will perform this sensational score, which dates from 1976, — from Philip Glass’s vicious experimental period, both very radical and very poppy — with Collegium Vocale Gent (choruses) and Suzanne Vega, who is even more charming thirty years after Tom’s Diner, as the narrator, and who takes on all the roles in this opera. The audience is free to wander in and out, the gap between stage and audience blurred thanks to Germaine Kruip’s visual intervention.











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