2016
for 6 instruments and live electronics

Schallfeld Ensemble

Zinajda Kodrič Flute
Szilárd Benes Clarinet
Manuel Alcaraz Clement Percussion
Flavia Cerrato Piano
Lorenzo Derinni Violin
Myriam García Fidalgo Cello
Davide Gagliardi Live Electronics and Sound Direction
Leonhard Garms Conductor

Furòre (from Latin “furor -oris” (be mad, flare up):
1.a) State of mental turmoil and great commotion provoked by anger or another violent passion. 1.b) Fierce violence, power.
2.a) Unrestrained desire. 2.b) Far furore: to arouse great enthusiasm.

My vision of “furore” is a net, which binds together:
deformations and deconstructions of pre-existing music material, obsessive rhythmical structures speeded up and slowed down, different states of sound qualities, violent percussive hits coming from junkyard metals, scratches (as heard in hip hop music), pre-recorded voices and sounds taken from action movies.

Live recording: 30.10.2017 Afekt Festival, Tallin, Estonia

Schallfeld Ensemble: Flute, Accordion, Percussions, Violin and Cello.

Video: Federica Marchese

The Cooking Show is a Concerto for Chef, Instruments and Live Electronics in form of music video. A performer, while he will prepare a complete meal, will produce the main musical material of the composition. In the other side, all the cooking passages required to prepare the dish will define the musical form of the entire piece. The chef, therefore, will become also a solo musician, who will build a dialogue with the instrumental ensemble. He will be not improvising, but he will move and produce every sound according to a choreographic score written by the composer.

The instruments of the ensemble sometimes will imitate – trough extended techniques – the sounds present in the kitchen, other times they will play a proper accompanying music as seen in cooking demonstration videos. Therefore, the instrumental part will draw melodic fragments that will continuously transform themselves into environmental noises and vice- versa.

The sounds produced by the performer will constitute also the electronic part, which will be inspired by ASMR (auto sensory meridian response) videos. In these films ASMRartists touch in a gentle way specific objects in order to produce soft sounds and to induce to the listener a tingling sensation. As it happens with the instrumental textures, also in this case the recorded sounds will continuously fluctuate between in-harmonic noises and harmonic frequencies thanks to convolution effects and resonant filters.

“The Cooking Show: the Appetizer” is conceived as a Study for a bigger theatre/video music piece which will stage an entire dinner preparation. In particular, here the performer/chef will prepare a fried prawn in a bed of steamed broccoli roman style seasoned with a distillate of herbs and lemon.

Torted deforms and deconstructs hypnotic patterns taken from pre-existent minimal techno pieces mixed with environmental sounds. These structures sometimes are slowed down other times are speeded up as if they were played by a turntable with different speeds.  

The electronic part and metal pieces taken from a junkyard will be the main instruments to build a “Torted” (twisted) form in which something familiar and already known becomes new and unusual.

photo: Tobias Hoops







photo: Tobias Hoops 



photo: Tobias Hoops

Death as the wisdom of life
creation 2021

(E)
What comes after, when one day we must say goodbye to the world? Is there consciousness after death?Which longings draw us back to life? BARDO tells the story of the encounter in the transitional realm of Bardo between the young deceased monk, Duoje, and his teacher, Sun-Moon-Light. In this place, described in Tibetan Buddhism as the space between heaven, hell, and rebirth, Duoje's soul is faced with the choice between dissolution in Nirvana or rebirth in a real human body. Taking the form of both a live performance and a live-stream, the choreographic sequences that embody these innerconflicts form dialogues between the two souls in Bardo, immersing the viewer's gaze in the story. The audience is allowed to move freely between the performers, experiencing the accompanying camera, which directs the perspective of the viewers to intentional points in the choreography, through live projection.

Concept / Choreography / Artistic Direction: Jasmine Fan
Performers: Damien Fournier, Victor Mateos Arellano, Isabella Boldt, Tien Yi-Wei, Kai-Chun Chuang, Janan Laubscher, Nils Löfke
Camera: Martin Klukas
Composition / Sound Design: Lorenzo Romano
Costume Design: Julio Escudero
Stage Design: Yi-Jou Chuang
Stage Assistant : Mu-Heng Tsai
Light Design / Photography: Tobias Hoops
Technical Director: Doria Worden
Dramaturgy: Jean-Claude Mondot
Sound Technician : Robert Prior
Stream/Video: Diana Sanchez
Productions Manager : Jesse Oesterling

Support by Fonds Darstellende Künste e.V. #TakeAction, NEUSTART KULTUR NPN-STEPPING OUT, Claussen-Simon-Stiftung.

Thanks to Epson, pflanzmich.de, Classhof Dittmern, Galerie Stobbe · Paidere · Mondot, TANZAHOi Festival, Dachverband freie darstellende Künste Hamburg e.V. Wiese e.V.

---

Eine Begegnung zwischen Nirvana und Reinkarnation

(D)

Gibt es ein Danach, wenn ein Tag wir der Welt verabschieden müssen? Oder ob wir noch bewusste sein könnten nach den Tot? Ein Choreografie, welche bildet unter ein Konflikt die inhaltliche Grundlage der Dialoge. Welche Sehnsüchte ziehen
uns wieder zu Leben? Mit Film Projiktion der Plansequenz der Kamerabewegung. Das Stück spielt im Übergangsbereich zwischen Himmel, Hölle und Wiedergeburt an verschiedenen Schauplätzen eines öffentliche Raum.

Bardo kommt aus dem tibetischen Buddhismus und bezeichnet einen Zwischenzustand nach dem Tod, zwischen Himmel und Hölle. Die Geschichte erzählt vom Dialog des jung verstorbenen Mönchs Duoje mit seinem Lehrmeister Sun- Moon-Light im Übergangsreich des Bardo. Dort steht Duojes Seele vor der Entscheidung zwischen einer Auflösung im Nirvana oder einer Wiedergeburt, in einen genderbezogenen Körper, zu wählen. Das Konzept spielt in ein offene Raum und die Zuschauern dürfen frei zu bewegen und die Tänzer*innen beobachten. Mit der Kamera Begleitung werden die Zuschauern manchmal die Bewegung der Tänzer*innen nur durch Projektion bekommen.

Konzept / Choreography / Artistic Director : Jasmine Fan
Tänzer*innen : Damien Fournier, Victor Mateos Arellano, Isabella Boldt, Tien Yi-Wei, Kai-Chun Chuang, Janan Laubscher, Nils Löfke
Kamera : Martin Klukas
Komposition / Sound Design : Lorenzo Romano
Kostüme Design : Julio Escudero
Bühne Design : Yi-Jou Chuang
Bühne Assistantin : Mu-Heng Tsai
Light Design / Photography : Tobias Hoops
Technisches leiterin : Doria Worden
Sound Tachniker : Robert Prior
Stream/Video Technikerin: Diana Sanchez
Productionsleiter : Jesse Oesterling
Dramatur : Jean-Claude Mondot

Gefördert von Fonds Darstellende Künste e.V. #TakeAction, NEUSTART KULTUR NPN-STEPPING OUT, Claussen-Simon-Stiftung.

Dank an Epson, pflanzmich.de, Classhof Dittmern, Galerie Stobbe · Paidere · Mondot, TANZAHOi Festival, Dachverband freie darstellende Künste Hamburg e.V. Wiese e.V.

www.tanzahoi.org/events/bardo/
www.jasminefan.de

2020

Photo: Brinkhoff/Mögenburg


A coproduction between the Hamburgische Staatsoper the Hochschule für Theater und Musik Hamburg and the Claussen-Simon-Stiftung.

Staatsoper Hamburg ︎


Interview with NDR






Lorenzo Romanos „La Luna“ ist eine der gelungensten Produktionen des Hauses. Der begrenzte Raum wurde grandios genutzt.
(Elisabeth Richter, Hamburger Abendblatt, 26.06.2022)


Press Material


















Photo: Brinkhoff/Mögenburg