El programa Soliloquy(s) is a journey through sound, or rather, sounds. But it is also a reflection on the possibilities of going beyond the logic of a conventional musical program (or can poetry, theater or the reflective process not be musical?). The program begins with the final fragment of Segismundo’s famous monologue from La Vida es Sueño by Calderón de la Barca, a soliloquy that invites us to reflect on dreaming and our “freedom” as dreamers. Immediately afterwards, the electronic sounds of Pauline Oliveros – one of the pioneers of electronic music – immerse us in another reflection on the figure of women in the 19th century, through the use and electronic treatment of a well-known aria by Puccini. At the center of the program are two absolute premieres for solo countertenor and ensemble. The Land of Heart’s Desire by the composer Núria Giménez-Comas is based on texts by the renowned philosopher and art curator Paul B. Preciado, and the Irish poet W. B. Yeats; while the work Voice by Iñaki Estrada reflects on the sonic reality of gender through the electronic treatment of recordings of castrati – usually destined to play female roles. The solo countertenor in both works will be Carlos Mena. But this sound journey that this program tries to be, also about the ability to dream different, does not just stop here, the program unfolds (or overflows again) reflecting on the creative act itself (of the work or the act itself to program?) with a fragment of the already legendary lecture by the French philosopher Gilles Deleuze on the act of creation, and which, like Calderón de la Barca, invites us to think about the nature (and dangers) of dreaming. The program is completed with a work of fascinating sound poetics by Francesco Filidei, and as its title indicates, every gesture (like dreams) has its end.

Asier Puga

Biography

https://www.ocazenigma.com/historia-de-la-ocazenigma