PETER NAVARRO-ALONSO
In Flagrante Delicto
-Moro lasso, al mio duolo
-Beltà, poi che t'assenti
-Che sì picciol pianto
-Io pur respiro
-Part Two

In conversation with Theatre of Voices and Ensemble Stralo, Peter Navarro-Alonso composed In Flagrante Delicto, a 60 minute piece in four movements. The focal point of Navarro-Alonso's new work is the renaissance composer, Carlo Gesualdo, who was notorious throughout the period for his dark and twisted mind, and even went as far as murdering his unfaithful wife. Following this event, he developed a tendency towards the bizarre and insane, wandering until his death on the precipice of collapse as his mind and music fall into dark disarray.

The starting point for the new composition is Gesualdo's own madrigals, but as the person Gesualdo is drawn into the work, the realization of his music becomes rather a delusion of the unbridled expressiveness of the Renaissance. Based on a postmodernist aesthetic, the composition evokes the notion of a weathered mind, characterized by madness, perversion, and decadence, staged by Peter Navarro-Alonso, who has previously demonstrated his ability to create beautiful and unique music based on existing material, without falling into the pitfalls of pastiche or irony.

Theatre of Voices
-Else Torp
-Signe Asmussen
-Laura Lamph
-Paul Bentley-Angell
-Jakob Bloch Jespersen

Ensemble STRALO
-Christina Åstrand, violin
-Therese Åstrand Radev, cello
-Radi Åstrand Radev, oboe
-Per Salo, piano

Paul Hillier, artistic director

PETER NAVARRO-ALONSO
In Flagrante Delicto
-Moro lasso, al mio duolo
-Beltà, poi che t'assenti
-Che sì picciol pianto
-Io pur respiro
-Part Two

In conversation with Theatre of Voices and Ensemble Stralo, Peter Navarro-Alonso composed In Flagrante Delicto, a 60 minute piece in four movements. The focal point of Navarro-Alonso's new work is the renaissance composer, Carlo Gesualdo, who was notorious throughout the period for his dark and twisted mind, and even went as far as murdering his unfaithful wife. Following this event, he developed a tendency towards the bizarre and insane, wandering until his death on the precipice of collapse as his mind and music fall into dark disarray.

The starting point for the new composition is Gesualdo's own madrigals, but as the person Gesualdo is drawn into the work, the realization of his music becomes rather a delusion of the unbridled expressiveness of the Renaissance. Based on a postmodernist aesthetic, the composition evokes the notion of a weathered mind, characterized by madness, perversion, and decadence, staged by Peter Navarro-Alonso, who has previously demonstrated his ability to create beautiful and unique music based on existing material, without falling into the pitfalls of pastiche or irony.

Theatre of Voices
-Else Torp
-Signe Asmussen
-Laura Lamph
-Paul Bentley-Angell
-Jakob Bloch Jespersen

Ensemble STRALO
-Christina Åstrand, violin
-Therese Åstrand Radev, cello
-Radi Åstrand Radev, oboe
-Per Salo, piano

Paul Hillier, artistic director

PETER NAVARRO-ALONSO
In Flagrante Delicto
-Moro lasso, al mio duolo
-Beltà, poi che t'assenti
-Che sì picciol pianto
-Io pur respiro
-Part Two

In conversation with Theatre of Voices and Ensemble Stralo, Peter Navarro-Alonso composed In Flagrante Delicto, a 60 minute piece in four movements. The focal point of Navarro-Alonso's new work is the renaissance composer, Carlo Gesualdo, who was notorious throughout the period for his dark and twisted mind, and even went as far as murdering his unfaithful wife. Following this event, he developed a tendency towards the bizarre and insane, wandering until his death on the precipice of collapse as his mind and music fall into dark disarray.

The starting point for the new composition is Gesualdo's own madrigals, but as the person Gesualdo is drawn into the work, the realization of his music becomes rather a delusion of the unbridled expressiveness of the Renaissance. Based on a postmodernist aesthetic, the composition evokes the notion of a weathered mind, characterized by madness, perversion, and decadence, staged by Peter Navarro-Alonso, who has previously demonstrated his ability to create beautiful and unique music based on existing material, without falling into the pitfalls of pastiche or irony.

Theatre of Voices
-Else Torp
-Signe Asmussen
-Laura Lamph
-Paul Bentley-Angell
-Jakob Bloch Jespersen

Ensemble Stralo
-Christina Åstrand, violin
-Therese Åstrand Radev, cello
-Radi Åstrand Radev, oboe
-Per Salo, piano

Paul Hillier, conductor

DAVID LANG
The Little Match Girl Passion

PELLE GUDMUNDSEN-HOLMGREEN
Song

JOHN LUTHER ADAMS
A Brief Descent Into Deep Time

John Luther Adams, a composer revered for reclaiming our connections with the natural world, has been commissioned by Kings Place and Carnegie Hall to write for Theatre of Voices. The result, A brief descent, represents a procession through the geologic layers of the Grand Canyon. As Adams writes, ‘I’ve been following the rocks deeper into the canyon. Yesterday I passed the billion year mark. The colours of the rocks and the beauty of their names have carried me away. It’s a journey of fascination, even obsession.’ The song texts derive from the names of the geologic eras as well as major events in the history of the earth, including the five mass extinctions, spanning 1.7 billion years.

David Lang’s Pulitzer Prize-winning The Little Match Girl Passion has been heard the world over since its premiere in 2001. With spare poigancy, Lang sets Hans Christian Andersen’s story of The Little Match Girl in the format of Bach’s St Matthew Passion, interspersing Andersen’s narrative with mesmerising choral & character responses.

The programme is completed by Gudmundsen-Holmgreen’s Song, a striking refraction of Dowland’s ‘Flow my tears’.

Theatre of Voices
-Else Torp
-Signe Asmussen
-Paul Bentley-Angell
-Jakob Bloch Jespersen

David Bendix Nielsen, organ
TBA, percussion

Paul Hillier, artistic director