Katarina Livljanić's original project, Arijadna živi, brings to musical life Italian translations of Ovid dating from the fourteenth to the sixteenth centuries, drawing on research into the musical material of the Florentine Camerata. Working with director Olivier Lexa and in collaboration with Pino De Vittorio, she has shaped this material into a compelling and powerful musical and theatrical performance, distinguished by polished, flawless vocal delivery and instrumental accompaniment of equal refinement.
Nataša Maričić, Vijenac
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This programme is the fruit of an erudite investigation led by Katarina Livljanić : prayers (from the Book of Radoslav), incantations (Glava Hr'stova), excommunications (Koli že krešten ne budet), exorcisms (Zaklinam tebe, prinecisti dusce), meditations orchestrate a programme based on the individual polarity of life/death and, more largely, creation/destruction. The itinerary is also structured by declamations drawn from the tombs, in the manner of an ancient choir, as we learn from the libretto: a harsh polyphony in the ganga style, marked by chromatic effects and microtonality. (…) Since the sources are virtually silent on the musical dimension, these evocations are based on the vocal practices that survive in orality. A laboratory where paganism is not missing from this melting pot, and where spirituality is imbued with folkloric elements.
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In Meudon, the Dialogos ensemble brings Hecuba back to life
Revived to the taste of a double Italian and Croatian Renaissance, the Queen of Troy, surrounded by a few selected partners, sings of hope and sacrifice, life and death, dreams and reality. Tragic and magnificent.
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The programme is conceived as a musical radio play. Katarina Livljanić has reconstructed the music of texts from Wulfstan's Vita Sancti Aetheluuoldi and interwoven them with pieces from the Winchester Troper, that precious source which, at the dawn of the first millennium, left us one of the earliest collections of notated polyphony. Two female voices, fiddle and flutes create sound worlds that are both haunting and magical. The listening perspective shifts throughout: at times, a voice seems right beside the ear; at others, it recedes into the surrounding space. Spoken prose, monophonic chant, early organa and improvisatory interludes intertwine.
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