From the photo shooting for the premiere of Stine Janvin’s piece performed on Sunday 17.01 at Deutschland Funk Kultur in occasion of Art’s Birthday celebration. The piece will be broadcast on 22th January at 00.00.
With: Stine Janvin, Evelyn Saylor, Cansu Tanrikulu, Audrey Chen, Liina Magnea and myself
A song that I learn many years ago. I love the inventant language as well as the hybrid languages like this one.
This is an arbresche song, the language is a mix of the dialect of the South of Italy and Albanian born as the result of the Albanian diaspora in the XV century. A very particular melody that gave me inspiration for this performance that ends with the melody itself.
There are some little mistakes in the melody but I decided to leave it anyway cause I want it to be real and follow the logic of the orality, where songs are transforming with the the oral transmission.
You might have glimpsed a very magical location appearing on my Instagram profile here and there lately. I can finally say what and where and repost those wonderful pictures from the shooting of “Hamming in Abandoned places’, a performance by Raed Yassin to which I had the pleasure to give my contribution with my voice and presence.
You should run to watch it by the way, cause it will be online only till the 26th of November. Here is the link:
Prepare a google board or anyway put 360 mode to enjoy the full packet of voice vibration plus stunning 360 degrees view.
And now a couple of personal stories and impressions about that day.
Singing has been my main or anyway most important activity for the last 20 years but still I surprise at what can happen throughout the voices’ sound. I felt that humming all day long put all of us in a very particular state. A calm state. A reflective, an “empty” state.
/ / But anyway, a synchronised state. / / Despite the distance between us, despite our never-crossed sights, despite how feeble an humming voice can be. At the end the power of the singing brought us beyond the artistic statement we were representing. Or was a confirmation of it? Maybe there is then, a different possibility of connection? A subtler one? A less-material, less-impudent one? A connection of people who are stronger individuals and don’t compulsively need each other even if they are still willing to stay together?
Yanez Magazine is not just a musical journal. It has been created by two journalists and writers, Mattia Grigolo and Mauro Mondello as a platform about culture and art, journalism and long-form stories of very particular corners of life. That’s why this interview is special. Not only a list of musical projects but mainly a story of my life and the musical trip that brought me to Istanbul playing in the small but vibrant improvised music scene (and much more) and then to Berlin following the same wave. The Italian title means “The Roots of the Voice”. I’m speaking about my point of view on voice’s art, singing, vocal education as a form of art and research, about welcoming imperfections, about the voice as a tool for getting deeper close to other people and to ourselves as well. It was a good talk. The strange circumstance in which “Sediments“ the fist album of DUOSUBROSA was born it’s also there, together with the imperfection’s statement of the second coming album “20plus20” and the backstage of the fist album of the THE POND, the project of me and Nicolas Wiese. It’s in Italian, sorry non-Italian friends, google translate mode on and have fun.
In the last months I had to review my plans and priorities as anyone else, but things are starting to move a bit again.
I am delighted that I have been chosen as singer/ performer for a project lead by Stine Janvin as part of her residency at DAAD. Rehearsal will start next week and the show is scheduled for 17th of January: it will be a piece for 6 voices and it will be recorded and broadcasted by Deutschland Radio Kultur.
The piece will be about tuning and techniques of traditional Norwegian herding calls. I am excited about the topic since I have investigated many different kind of calls and even wrote my Conservatory Thesis (and partly on my university one) about this topic: it’s definitely an occasion to explore another traditional music culture that I know just superficially.
For the rest, was fun to give a couple of interviews lately. One will be for the wonderful online magazine Yanez, in Italian, sorry, but I will translate some parts and post them here.
The second was a talk with Schnelle Musikalische Hilfe” about ear worms but at the end strongly focused on voice techniques, vocal approaches, teaching approaches and ear warms. Super fun and interesting. It was party display through the audio project “Mein Tiefes Mitgefuhl fur diesel Ohrwur” at SeanapsFestival 2020.
I have to say that after many years focussing more on performing then recording, what is happening now it’s the opposite. The second album of DuoSubRosa is waiting to be released probably before the end of the year. This is something I am excited about because it’s a very current portrait of where I am musically, vocally and some how, intellectually.
I have recorded this album when I was half sick and coming out from a heavy period when I even lost my voice! (This happened like two /three times in my almost 25 years of singing life). Anyway I love the result of the recordings and I love every sound of my voice even when their are not completely under my control.
What about THE POND? The Pond’s first album is ready since months but unfortunately the wonderful international label we are supposed to collaborate with is having a big slow down…everything is postponed to next year.
Oh, there is something else.
If in December I will be able to reach Italy, will be for a recording session, a very particular one. Mirco Roppolo, a crazy dude I know for long, has built a vintage studio and started a project about stereo 8 ! Yes, I am going to record a solo short album for a very limited edition of stereo 8 tapes. I love that I been asked for this. It will be about some ancient Italian folk tune with new contemporary dress.
If the situation will allow it I am also going to give the first Rambling Voicesworkshop in Italy! Finger crossed.
I promised that in Spring 2020, Rambling Voices, my project of building an experimental choir would have found a stable shape, a stable location and keep work regularly. Instead, I had to stop the wheels rolling because of the Covid19 and be patient and work and video editing.
At the door of Autumn we started to meet again, open air in several locations and many wonderful things have happened. I have met lot of new people interested to my project and make them sing and improvise together form the first moment, as I promised. Feedbacks are always amazing…people feel free to express, use their voice fearless, do “strange” sound, shout, whistle and laugh.
I have learnt to work with non-professionals from a couple of masters of mine. In particular, when I was part of a very experimental theater company, our director was strongly insisting on working with us non-professional-actors/performers instead of the professionals that he could have.
The frame was the University of Bologna, I was so young but I was asked from him, Arnaldo, to give some voice workshops to the actors, so I did. Once, after he gave a topic for an improvisation, he came to me and said in my ear: “you see, if you leave them free, they will amaze you”.
I was in fact getting crazy by his very few and sibylline directions, but he was right: non professionals have somehow less prejudice and since they have less tools they would explore new ways.
Anyway, my masters in my heart, I keep doing my Rambling research on voice and voice teaching very happily though these meetings.
I give some cues for improvisations. Sometimes I don’t give any. I conduct. sometimes I don’t do anything. I push people to forget about voice technique and sometime to build “other” techniques.
How your voice would be if you have to sing while running?
Plus, in the last meeting I started to realise my desire to mix some folk tunes with impro and unorganised sounds. For the moment I am using a melodie with lyrics in a minor Italian language from the south. I even don’t understand the meaning and that’s make everyone on the same level…no stress about pronunciation and meaning, they are only sound (for the moment).
No stress at all. This is also part of my research. I want these people to sing without guiding their sounds with the stress of doing something good.
How we get there?
Yes, I make them practice Stockhausen’s Aus den sieben Tagen. This is always a good way to shut up your brain and focus on what you have to do.
Just play a sound.
With attention but with no expectation. With dedication but without prejudice.
This empty, strange time in which we are living was the kick to finally put online this album that was taking dust in the drawer. The strange coincidence is that it has been recorded in a period in which we were in a kind of forced retreat, coming from Istanbul where we met and lived together, preparing ourselves to move to Berlin. Is a long story made of thinking, searching, trying, meditating and you can listening a bit through our music.
The album is a live recording in a little church in the middle of the stunning countryside of Tuscany.
DuoSubRosa is my oldest active project, born in Istanbul in 2013 from the collaboration of me and Uygur Vural on cello.
Another gig with my new electronic project LANFREDINI+MADDALENA again in collaboration with C-drík. The night will be long and rich, check the full program here. The event is in collaboration with Trasmediale/CTM Festival.
Voice solo work in progress…here is what is about.
In this solo performance, Elisabetta brings together different sound levels that act as characters, double faces, insistent thoughts, out-of-control voices.
Everything is based on the concept of the double, the voice is clean in its acoustic dimension, but it is also insistently replicated creating different levels of story.
Melody is the other central element with the search for a new way to accompany it made of noises, drones and duplicated voices. Fragments of ancient melodies linked to the areas of southern Italy, open to new suggestions telling of the sea and its terrible function of union and separation.
Drones, noises, cassettes of various kinds with pre-recorded sounds or used as obsolete loop stations, radios and a shruti box are the objects available for narration.