Spring, II varijacija za gudacki orkestar

PONTOON / Remastered (original music by Dorotea Vejnović)

In this season, Zvučni šnajderaj / Klangschneiderei gathered seven Serbian and German composers, triggering a vivid and intense artistic dialogue between young artists from these countries. With a desire to introduce the current trends of contemporary music from Serbia and Germany to the audience, we present seven works composed especially for this occasion and for a very particular quartet: 

Milana Zarić, harp
Dorotea Vejnović, piano
Mladen Drenić, violin
Boban Stošić, contrabass

Pontoon, for chamber ensemble and electronics

The Glass Train

IN BODY
Chamber Opera
Libretto: Ciprian Măceșaru
Music: Diana Rotaru

PREMIERE during the International Week for New Music, Bucharest
The National University of Music in Bucharest, The Opera and Multimedia Studio
May 27th, 2016
Live rec: The Romanian Radio Broadcasting Company (Calin Ioachimescu)

Cast:

HAMLET/THE STAG/THE MAN: Irina Ungureanu (soprano)
OPHELIA/THE WOMAN: Veronica Anuşca (soprană)

SonoMania Ensemble: Valentin Ghita (oboe, english horn), Mihai Pintenaru (clarinet), Raluca Stratulat (violin), Tamara Dica (viola), Eugen-Bogdan Popa (cello), Eliza Puchianu (piano), Alexandru Stroe (percussion)
Conductor: Diana Rotaru

“In Body” / “În Trup”, on an original libretto by Ciprian Măceşaru, is a poetic-surrealist meditation on the identity ambiguity: are we our body or are we what we think? How much does our gender matter? These thoughts are presented through the help of the damned couple Hamlet-Ophelia, each of them captive inside the other’s body. Hamlet’s masculinity is represented by antlers (the royal aggressiveness), while Ophelia’s femininity is suggested through flowers – that are also present in her famous death scene. The timeless, magical setting is rich in symbols (the stag, the forest, the light/darkness dichotomy, the lake, etc.). the four soloists represent the characters’ voices (Irina Ungureanu – Hamlet, Veronica Anuşca – Ophelia) and their shadows or “fake bodies” (Cristina Lilienfeld – Ophelia, Smaranda Găbudeanu – Hamlet). The center of the show hides an “opera-inside-an-opera” (another shakespearian allusion) that comments upon the social labeling of the Woman and the Man in a contemporary world. Diana Rotaru’s music (performed by SonoMania Ensemble) transposes the polysemy of the text in a postmodern sonic language that slides through oneiric, ritual, humour, drama and other narrative colours.

Scene 1: The Stag (Wordless Monologue)
Hamlet, in his Stag form. His antlers grow and multiply in a massive diatonic chord. He becomes increasingly overwhelmed and desperate and rips himself from the horns.
6:12 - Scene 2: The Forest I. The Lake. 
Hamlet and Ophelia, each alone, each troubled by their "new", "fake" body - that, they gradually discover (when seeng it in the Lake-mirror - 14:30), that incites attraction in them. The melodic profiles form a "cross" design: Hamlet- descendant, Ophelia-ascendant (the attraction of their real form).
19:13 - Scene 3: Ophelia
Ophelia's song, as well as her body, are gradually "devoured" by flowers (ornaments).
26:15 - Scene 4: Urban Mechanism ("Her and Him"). Rondo. 
Opera-inside-an-opera: the modern society with its absurd labeling and prejudices: the Woman-Mother and the Man-Warrior (who plays with his weapons as a child plays with toys).
32:34 - Meditatio (Love creates and destroys in a slow-motion, Vian-esque landscape)
37:00 - Interlude
39:40 - Scene 5: The Forest II
Hamlet an Ophelia decide (independently) to face the danger of Knowledge and leave the Forest.
43:58 - Scene 6: The Meadow
Hamlet (in his Woman-form) and Ophelia (in her Stag-form) finally see each other and are puzzled by the fact that they recognize themselves. The Author of the story intervenes (through a video projection ) and explains the characters that they must reconnect their destinies in order to become themselves again.
48:47 - Scene 7: Realisation. Tango. Finalis.
Ophelia remembers her previous, shakespearian death (indirectly caused by Hamlet) and kills him with his own antlers in a Death-Tango.

poster by Maia Manolescu


Diana Rotaru - In Trup - Chamber Opera

abgrund, for ensemble (2017) 

Lucerne Festival 
KKL Luzern 23.08.2017

Lucerne Festival Alumni Ensemble:
Raoul Cho flute
Tomonori Takeda clarinet
Vitaliy Kyianytsia piano
Bill Solomon percussion
Marina Kifferstein violin
Rachel Koblyakov violin
Francesco Tosco viola
Simon Thompson cello
Juan Díaz double bass
Conducting:
Mehdi Lougraïda

abgrund, for ensemble

Vokativ (2018)
for symphony orchestra
2-2-2-2 ; 2-2-2-1;  timp, 2prc, pn., hp. ; 12,10,8,6,4

performed by RTS Symphony Orchestra
conductor: Bojan Suđić
Kolarac Concert Hall, International Review of Composers
10th October 2017

Vokativ  - for orchestra

Candy Crush 1852

Live recording from George Enescu Festival - world premiere.
Camerata Regala Orchestra
Conductor: Constantin Adrian Grigore

#justacomposer

Chorals and Music-Boxes (2005) for orchestra
National Radio Orchestra
Horia Andreescu, conductor

Pontoon, for chamber ensemble and electronics

teavejnovic

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