CARMINA SLOVENICA with When the mountain changed its clothing
Event Date: October 3, 2013
Posted: October 4, 2013
You must not do that.
When the mountain changed its clothing draws its inspiration from the Resian folk song Da Pa ?anynu, reflecting on the seasonal changes on the mountain of Kanin, Slovenia. According to Goebbels, intense activity on the stage derives from the exceptional energy of the young protagonists and reflects social transformations related to rapid political, social and cultural changes within the region the performers are coming from.
»Much skill is displayed in this tightly crafted piece. The Carmina Slovenica (under conductor Karmina Šilec) is a phenomenon in itself, with its mesmerising combination of steely discipline with exuberant physicality. The sound is often the hard-edged chesty bray we associate with women’s choirs from the former Eastern Bloc, but the young singers can shift to clean, honey-toned romanticism or glassy polytonality in the blink of an eye.«
»Carmina Slovenica, who’ve gained a world-wide reputation for their powers of story-telling through choral song.«
»The girls’ power of memory in a foreign language were impressive …«
» … joyous moments of collective energy or anarchy that these astonishing performers shone, and the piece itself really came alive.«
Neue Musik Zeitung:
»Thirty-nine girls and young women are responsible for this outstanding evening, each of them blessed with more than one talent. And how they proliferated. Recited, but no stock-still standing on the stage for them. If necessary, they also sang lying down. And how beautifully, gutturally, as typical for the Balkans. In general: professional precision that leaves one speechless. From choral singing, through crystal clear choral speaking, to simple stage movement – individual, in groups, as a whole, with or without props. Therefore it makes sense that their conductor Karmina Šilec no longer speaks about a “choir” or “choral singing” when she speaks about her ensemble, but about “vocal theatre or theatre of voices”. And that is of course where the similarity to Heiner Goebbels’s understanding of theatre can be found.
Complete silence was there later on also when thirty-nine Slovene Carminas sat at the edge of the stage to exchange silent looks with us. And in the speech bubble it read: This was you now. This will we be soon. «
»It is almost astounding with what skill, body control, precision and speed the girls perform, individually and as an ensemble, when they act, speak, sing. Wildly whirling on the big open stage one minute, they sit disciplined in two straight rows of chairs the next. Dramatic effect is achieved by movement changes themselves.«
»What the choir presents is highly professional and outshines even the passages that might occasionally seem almost too presumptuous and mouthy. The vital music-speech-movement theatre is a whole as it is and that is quite something.«
"At times one can hardly believe that these girls, aged between 11 and 20, from Maribor (under artistic direction of Karmina Šilec) can evoke such vocal worlds. Strictly precize, impeccably structured, any yet at the same time so relaxedly performed choral singing encopassing various registers up to the overtone technique; occasionally it sounds like a wonderful echo of Gregorianistic or reminds us from somewhere far away of the legendary „Mystère des voix Bulgares“, which attracted large attention some time ago in the West as a folk-pop phenomena. Occasional accelerations lead to rhythmical ecstasy, just like the Indian traditional „Taka Din“. Were these singers trained for the highest performance - or are they all simply extremely talented?"
"Great applause for great art."
Concept, Direction and Music: Heiner Goebbels Vocal Theatre Carmina Slovenica Artistic Direction: Karmina Šilec Stage and Light: Klaus Grünberg Costumes: Florence von Gerkan Choreography: Florian Bilbao Dramaturgy: Matthias Mohr Sound Design: Willi Bopp Production: Ruhtriennale, Coproduced by Steirischer Herbst (AT), Maribor Theatre Festival (SI), Festival Borštnikovo sre?anje in the context of Maribor 2012 European Capital of Culture (SI), Théâtre de la Ville-Paris & Festival D'Automne, Paris (FR), Grand Theatre, Luxemburg (LU), Kunstfestspiele Herrenhausen (DE) Holland Festival, Amsterdam (NL) and Kunstenfestivaldesarts, Brussels (BE).
festival theatre confrontations Lublin, Poland