“MESS” (2015-2017) for mezzo-soprano, mouths, skins and buchla EMS, Stockholm (2015) –
Emily Harvey Fondation, Venezia (2016-2017)
by Frédéric Acquaviva
Radio station: Deutschlandradio Kultur
Venue/s of the event: Kantine am Berghain
audio stream: +
video stream: +
première of the work
MESS aims to measure the interference zones between the deep frequencies brought by the digitalised sounds of the legendary anolog synthesizer Buchla held at EMS studios and the astonishing voice of the post-brexit UK mezzo Loré Lixenberg. A cosmos of sounds, without borders : a complete mess that tries to capture the world we die in.
Frédéric Acquaviva, born in 1967, has been since 1990 a sound artist and experimental music composer, creating chronopolyphonic installations and CDs (published by Al Dante) and playing in art galleries (Galeria Peccolo, Incognito, Lara Vincy, Archives and others), in museums (Palais de Tokyo, Centre Pompidou in Paris, Tate Modern in London, Neues Museum in Weserburg, La Fenice in Venezia and others) or in underground venues, such as Les Voûtes, le Donjon de Maîtresse Cindy, Festival Indisciplinaire de l’Ile de Groix and others.
Staying away from traditional networks of musicians and composers, he meets and works with historical figures in art, poetry or video, sometimes a long time before their being discovered by the media. He has collaborated this way with Isidore Isou, Maurice Lemaître, Marcel Hanoun, Pierre Guyotat, Jean-Luc Parant, mezzo-soprano Loré Lixenberg, film maker F.J. Ossang and choreographer Maria Faustino, among others.
His radical music, in which he chooses an experimental presentation using, for example, non-technical perception based on the disposition of the listener and the sound, or presenting the sound four different places simultaneously, has been played while he was releasing four different CDs at the same time at “The Exciting Sound of Acquaviva,” on June 19th, 2009. He is constantly exploring, always in new ways, the relationship between voice and language, sound and its meaning, even the idea of physical body sounds integrated into the musical composition, kept away from the concert hall’s diffusions (acousmatic or sound installations). As the critic Eric Vautrin remarked in Mouvement magazine, his work is not a “sound work but a work about sound”.
Acquaviva has become not only one of the essential protagonists of the rediscovery of historical avant-garde, more precisely of Lettrism (Isidore Isou, Gabriel Pomerand, Maurice Lemaître, Gil J Wolman, Jean-Louis Brau, Jacques Spacagna, François Dufrêne, Roland Sabatier, Alain Satié, Broutin), but of Sound Poetry (Henri Chopin, Bernard Heidsieck), and has worked with some unique and outstanding historical figures (Pierre Albert-Birot, Otto Muehl). He has done this through his knowledge of and interest in different disciplines: publishing books (Francesco Conz, Verona), curating art exhibitions (at MACBA, Barcelona; Serralves, Porto, CIPM, Marseille and other places), creating nine Radio/Phonics for France Culture or RadioWebMacba, being an art critic, a filmmaker, a Collections director at Editions Derrière la Salle de Bains or for his own Editions AcquAvivA, being an events creator, lecturing, establishing catalogue raisonnés and bibliographic databases, as well as being an Archives creator.
Born in the UK Lore Lixenberg has performed widely in opera, concert repertoire and music-theatre, and works with many leading composers.
She has performed internationally at many festivals including those of Salzburg, Lucerne, Donaueschingen, Aldeburgh, Witten, Edinburgh and Huddersfield, and at the Wien Modern and Oslo Ultima festivals. She has performed with orchestras and ensembles including the Halle, Tokyo PO, Danish National SO, Swedish Radio Orchestra, Ensemble Intercontemporain, London Sinfonietta, Klanforum Wien, BCMG Ensemble Aventure, Icelandic SO and Danish Royal Opera.
Lixenberg worked on the development of and played the Roles of Peaches and Baby Jane in Jerry Springer the Opera (Battersea, Edinburgh, NT, West End) She worked on the development of and appeared in Kombat Opera Presents (Richard Thomas, Thea Wiles BBC2) and Attention Scum (Simon Munnery, Stewart Lee, Richard Thomas). She worked on the development of and played the roles of Millie and Death in The HaHa Hole (Richard Thomas, Stewart Lee) at Hannover Schauspielhaus. She has appeared regularly with Theatre de Complicite including Miss Donnithornes Maggot (Maxwell Davies) and Out of a House Walked a Man (NT)
She also performed with Phoenix Dance Theatre touring ‘Cattle Call” (Javier de frutos, Richard Thomas)
Recital performances include Schubert Recitals with Accompanying Franz by Dai Fujikura, with Andrew West in France and Japan with La Folle Journee Festival, Eisler Geburtstag recital of Eisler songs with Jonathan Powell, recital of Music from the Weimar Republic at Kings Place with the Aurora Orchestra also singing the role of Anna in The Seven Deadly Sins (Weill) with the Aurora Orchestra.
In 2011 she will be performing the role of Cousin Shelley in Anna Nicole (Turnage) in her ROH debut.