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...The concurrent artistic careers of G. Ligeti and J. Beuys have instilled a desire in Vollmaier for cooperation and new creation inspired by their artistic outputs.
On the one hand, this was Ligeti's "extreme electronic" approach to the acoustic instrument and, on the other hand, Beuys' concept of tearing down the wall between life and art...
The concurrent artistic careers of G. Ligeti and J. Beuys have instilled a desire in Vollmaier for cooperation and new creation inspired by their artistic outputs.
On the one hand, this was Ligeti's "extreme electronic" approach to the acoustic instrument and, on the other hand, Beuys' concept of tearing down the wall between life and art.
After major piano solo projects, Vollmaier: Kind of Laibach and Vollmaier: Nietzsche, the pianist embarked on a new venture: the piano compositions by composer G. Ligeti, to be performed in Cankarjev dom’s Gallus Hall on the centenary of the composer’s birth. Three Ligeti’s piano compositions have been selected. Vollmaier will perform two variations on each composition, using both contemporary and classical musical techniques to create a sonically and visually enhanced acoustic/electronic performance art. An event for the listeners and spectators alike whose core is made up of both the piano tone and the interpreter.
The performance has been visually supported by Things I Miss and Komposter, whose expression serves to extend Vollmaier's sound.
Producer and composer Luka Jamnik, who has collaborated with Vollmaier on his previous projects, will modify the sound of the piano tone from the control room.
Together, they have created a new, personal performance event with darkness, silence, noise, astonishment and seclusion as its leitmotifs.
The concert will be accompanied by an album released on Nika Records in co-production with Cankarjev dom.
Joseph Beuys sought and established an unspoken connection with his audiences, but unlike many artists he did not wish to give clear and rational form to the meaning of his ritual performances – social sculptures. In his famous 1965 solo performance, How to Explain Pictures to a Dead Hare (Wie man dem toten Hasen die Bilder erklärt), he moved for three hours through a gallery inaudibly explaining paintings and art to the carcass of a hare, while the audience watched the performance from behind a glass wall. This ritual of "explaining art" was accompanied by an act that was truly silent to the viewers. Beuys’ philosophy behind this performance stemmed from the contempt for the rational society and rational thinking. According to Beuys, even a dead animal, a dead hare ‘preserves more powers of intuition than some human beings with their stubborn rationality' and intellectualized perception of the world and art. Beuys wanted the audience to reach the conclusion that artistic performance (and concert performance) concerned the spiritual connection between death and humanity and the invisible energies that inherently guide nature and our lives. The work was not intended for the viewers to reflect on and seek to understand mentally, but sense it intuitively with the kind of natural instinct that a hare follows when it burrows itself into earth and makes a home for itself.
Beuys and Ligeti were acquaintances, if not friends, contemporaries, if not collaborators, who respected each other and who, in some sense, used the same mode of thought about aesthetics and the aesthetic function of art, each in his own medium.
Nevertheless, their mediums partially overlapped; Beuys, who was a master and pioneer of performance art, started using sound and music. In 1963, Beuys organised the first Festum Fluxorum Fluxus in Düsseldorf, and invited Ligeti to take part in the festival. Beuys’ sound performances were from then on explicitly referred to as “concerts”, and no longer as artistic actions. Ligeti’s music, however, progressively evolved into performance art, and his concerts gradually radicalized this aspect.
To put it very simply, their way of thinking basically concerns the fact that music is not merely about composing sound and that a concert is not just about playing an instrument (it's about the very act of performance) and that – in Beuys' case – the performance is not just a live spatial installation exploring the ideology and perception of art, but – primarily in Cagean sense – can also be music or a concert. Both are essentially concerned with social interaction, social sculpture, a ritual whose key element is the audience and its perception, its response. The performer simply plays the role of an interpreter, a mediator, shaman or master of ceremonies (MC), but it is the audience that (can) lend substance to a performance (or not) through intuition. If the audience is dead, like the famous Beuys’ hare, then this fear is unfounded.
The Nutcracker Suite and popular Christmas songs
Tchaikovsky/Ellington (arr. Pierobon): Two Nutcrackers, for trumpet, symphony orchestra and big band (excerpts)
Favourite Christmas songs
The RTV Slovenia Symphony Orchestra and Big Band will perform under the baton of world-renowned Italian trumpeter and conductor, Marco Pierobon. In devising this special programme of excerpts from The Nutcracker, the maestro wished to “playfully juxtapose two Nutcrackers - the original Tchaikovsky’s ballet suite and the suite for solo trumpet and Duke Ellington's big band.”
We can look forward to a concert featuring a magical blend of classical music and jazz. Some of the world’s best-known Christmas songs, arranged by maestro Pierobon for the symphony orchestra and big band, will add extra sparkle to the festive atmosphere.
In last 20 years, Mariza has risen from a local phenomenon, known only to a small circle of
admirers in Lisbon, to one of the most widely acclaimed stars of the International Music circuit.
Fado em Mim was an exciting first album, showing a young singer with a rich, vibrant voice and a strong artistic personality. She still sang several hits of Amália Rodrigues’ repertory but her approach to the heritage of the great Fado diva was already so personal that she could easily cast away any suggestion of mere imitation. And within her original material Ó Gente da minha Terra, by the young composer Tiago Machado, soon became a major hit in its own right.
No Portuguese artist since Amália Rodrigues has experienced such a triumphant international career, accumulating success after success on the most prestigious world stages, raving reviews from the most demanding music critics worldwide and countless international awards and distinctions. As usual, her musical partners are simply only the best: Jacques Morelenbaum and John Mauceri, José Merced and Miguel Poveda, Gilberto Gil and Ivan Lins, Lenny Kravitz and Sting, Cesária Évora and Tito Paris, Carlos do Carmo and Rui Veloso. And her repertoire, while firmly rooted in classical and contemporary Fado, has grown to include occasional Cape Verdean mornas, Brazilian & Spanish classics or any other themes she holds dear to her heart.
Mariza and Rodrigues have a lot in common, beyond their origin. With her residencies at legendary venues such as the Paris Olympia and Carnegie Hall, Mariza swept global audiences off their feet in the early part of this century, like Rodrigues had done in the 1950s and 1960s. Through her critically acclaimed recordings and unexpected collaborations, Mariza expanded what fado could be, just like Rodrigues had done in the 1960s and 1970s. Mariza became the most celebrated ambassador of Portugal’s music in the twenty-first century as Rodrigues had been in the twentieth century.
Soloists: Alexandra Oomens, soprano; Hilary Summers, alto; Joshua Ellicott, tenor; Edward Grint, bass
Programme: George F. Handel, Messiah, oratorio, HWV 56
The famous oratorio Messiah by George Friedrich Handel, selected for our December Golden Subscription concert, creates a lavish and festive atmosphere. Although not originally intended for performance during the Advent period, it is a work strongly tied to Christmas and its mood of sheer elation renders the oratorio a favourite choice for the festive season. The premiere in the spring of 1742 received raving reviews, and a Dublin newspaper wrote:
“The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear.”
The oratorio will be performed by The King's Consort, one of Europe's leading period instrument orchestras. The Orchestra and Choir were founded in 1980 by the English conductor and harpsichordist Robert King. Over a history spanning more than four decades, The Consort has toured extensively in almost every country in EU and made over 100 award-winning recordings. The Orchestra and the Choir will be joined by soloists Alexandra Oomens, Hilary Summers, Joshua Ellicott and Edward Grint.
World-renowned psychologist, Dr. Shefali Tsabary, to present the concept of conscious parenting in Ljubljana
A lecture on conscious parenting by an international parenting expert, clinical psychologist and New York Times bestselling author, Dr. Shefali Tsabary
As part of the lecture Support, Not Perfection Dr. Tsabary will speak about the importance of conscious parenting with Jelena Djoković, co-founder and International Director of the Novak Djoković Foundation, at whose invitation Dr. Tsabary is visiting Europe for the first time.
Duration of the lecture: 120 minutes.
The event will be held in English, with simultaneous translation into Slovenian.
EUR 20, EUR 17 (reduced prices until 12 September)
EUR 25, EUR 22 (regular prices)
Želja vseh nas je biti najboljši starš svojemu otroku in da bi bili naši otroci srečni. Naj vam razkrijem skrivnost: recepta za to ni, obstaja pa način, da svojega otroka lažje razumemo. Gre za način razumevanja, kaj čutimo kot starši in kako smo se počutili, ko smo sami bili otroci. Ko rešimo to uganko, se odgovori ponudijo sami od sebe. Shefali Tsabary
Predavanje v angleškem jeziku s simultanim prevodom v slovenščino.
Mednarodna direktorica in soustanoviteljica Fundacije Novaka Djokovića, Jelena Djoković, je pred prihodom dr. Tsabaryjeve izpostavila, da je namen Fundacije, da staršem v treh glavnih mestih ponudi predavanje o drugačnem pristopu k starševstvu. Pristop je osredotočen na izobraževanje ter prilagojen potrebam otrok ter njihovi pravici biti to, kar so.
Izjemno ponosna sem, da bo Fundacija Novaka Djokovića v Beograd, Ljubljano in Zagreb pripeljala dr. Tsabaryjevo. Z organizacijo njenih predavanj želimo staršem iz regije omogočiti, da slišijo mnenje svetovno priznane strokovnjakinje s področja starševstva, kar jim bo pomagalo najti odgovore na številna vprašanja, ki si jih vsak dan zastavljajo. Koncept dr. Tsabary ni zgolj dajanje predlogov, kako naj nas otrok posluša in bo poslušen. Ravno nasprotno, cilj njenega koncepta je prepoznati otrokovo pristnost in jo negovati. Ta pristop k vzgoji otrok je nov in menim, da je prav zato pomembno, da staršem omogočimo, da se s konceptom zavestnega starševstva seznanijo iz prve roke. Jelena Djoković
The Nutcracker is a show for the festive Christmas season. The magical story of the Mouse King and Clara’s adventures in the Land of Sweets never fail to enchant young audiences. A treat for all ballet lovers, it offers a magical adventure for all the family.
The Nutcracker, with a score by Peter Ilyich Tchaikovsky (1840–1893) and libretto adapted from E.T.A. Hoffmann’s short story, is one of the most popular ballets of all time. The reasons for its enduring popularity are the imaginative story, brilliant score and exquisite choreography. There have been countless reworkings and interpretations of The Nutcracker. The Croatian National Theatre Rijeka’s production has been re-created by talented Italian choreographer Mauro de Candia. His choreography is set in the present day, which further boosts the work’s appeal to the young audiences. De Candia’s re-working offers a fresh and modernised take on choreography, set and costume design, while keeping true to the spirit of this festive ballet classic.
The dancers move effortlessly between the classical and contemporary dance techniques, equally at home en pointe and their legs a terre. No dance step is performed solely on account of spectacularity, although the stagecraft is felt throughout, all ballet movements have been designed with the sole purpose of genuinely interpreting the characters and the story, while providing a feast for the eyes.
Rijeka’s The Nutcracker offers a different and fresh take on the fairy-tale ballet, one that is daring in regard to its music score, exciting in the contemporary dance code, witty and distinctive in its dance interpretations and attractive to a wide audience.
Choreography: Mauro de Candia
Dramaturgy: Patricia Stöckemann
Costume and set design: Margrit Flagner
Production: Ballet of the Croatian National Theatre Ivan pl. Zajc in Rijeka
ABBA's greatest hits performed by a 50-piece symphony orchestra and the world-class band ABBA Real Tribute!
We are proud to announce a splendid concert dedicated to the legendary Swedish band ABBA, one of the greatest pop groups of all time, celebrating 50 years this year. During the band’s golden jubilee, the project ABBA SYMPHONIC was born, which aims to bring to life ABBA's greatest hits, such as Mamma Mia, Dancing Queen, Super Trouper, The Winner Takes It All, S.O.S., Fernando and numerous others, in an evening filled with emotion for new and old ABBA fans.
The 50-piece symphony orchestra will be accompanied by ABBA Real Tribute, one of the best bands of its kind, who will take you on a journey through ABBA's history with original costume design, dance choreography, and superb interpretation! ABBA SYMPHONIC will take you down memory lane with their live performance, top-notch show and production – they will bring back to life special memories from the era when ABBA dominated the international radio charts!
As the most successful Swedish group of all time, ABBA took the entire global market by storm, selling more than 400 million albums between 1972 and 1982, breaking many world records along the way. ABBA's members were Agnetha Fältskog, Björn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad. They first appeared on the music scene by winning the Eurovision Song Contest in 1974, with the song Waterloo. Their rise began in 1975 with S.O.S., and they rose to the top of the world with Mamma Mia. They recorded eight original albums and broke many sales records. To this day, ABBA continues to win people over with countless tributes on TV, radio and, of course, the hugely popular theatrical hit Mamma Mia, now a feature film – even after many years, their popularity is not waning!
You are cordially invited to the premiere concert presentation of The Vocabulary of Madness, Silence's first studio album in a decade. Aided by guests and exquisite, first-class irrationality, the duet will present the entire new album and a selection of earlier works.
The Vocabulary of Madness is the first comprehensive guide to a universal, increasingly popular language. Madness is a language we all speak fluently – especially when we have no intention of doing so.
The album, released as a 32-page, hardcover book, will be available at the venue.
Soloist: Fleur Barron, mezzo-soprano
Programme: E. Chabrier, G. Bizet, M. Ravel, H. Berlioz, C. Debussy, Ch. Aznavour, Barbara, J. Matičič, C. Dumont
The 2023 New Year's Concert will delight music lovers with French charm, sophistication, passion and extravaganza. French music will flow seamlessly from Georges Bizet and excerpts from Carmen, the Romantic composer’s most famous opera, a selection from the song cycle Les nuits d'été by Hector Berlioz, to passionate music by Maurice Ravel and popular French chansons by Charles Aznavour, Barbara and Édith Piaf, sung by the charismatic Singaporean-British mezzo-soprano Fleur Barron. The Slovenian Philharmonic Orchestra will perform under the baton of one of the most talented conductors of his generation, the young German conductor David Niemann. Join us for an enchanting evening filled with a rich variety of French music styles and genres.