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klangkabarett

Frequently Asked monsters sound

One starts with a song of the 30s, then just modify the electronic stamps, it expands the syllables, words and leaves it leaves room for improvisation, a dance number caricature, then return tirelessly the old tunes.

From yesterday, the great Berlin Cabaret, it remains seeming to glide between two worlds: music, theater, opera to the freak show of the wonderful tragically ugly. Also remains a social satire that has the desire never to "clarify" it plays on the ambiguity of the characters and feelings.

Today, the sound material at the service of expression and theatricality, exceeds the melody. The text loses its original meaning and becomes his. Thus the confusion that appeals to the tavern since its creation is here, clearly represented in music that ranges from representational to abstract.

song: Wanda Obertova
trumpet, electronics: Yannick Barman
bass clarinet: Anne Gillot
clarinet, piano: Benoît Moreau
guitar banjo, trumpet Ariel Garcia
bass, arrangements: Dragos Tara
battery: Luc Muller

staging: Benedict Blampain
text in French: Nicolas Carrel
design: Roberto Baiza
lights: Daniel Genevey
sound: David Tabachnik

photos: Rebetez Augustine, Christopher Haesevoets

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Presentation - Klangkabarett

The Klangkabarett is a musical that plunges its roots in the cabaret of the first half of the twentieth century and who, not content with "a continuing tradition," attempts to adapt his concerns about this first half of the XXI century and confronts his sounds and music.

From Berlin cabaret of the 30 one finds a sense of slip between two worlds: music theater but also of opera to freak show of the wonderful tragically ugly. Remains, also a social satire that has the desire never to "clarify" it plays on the ambiguity of the characters, feelings. The misery we dress in satin.

Today, the sound is at the service of expression and theatricality. The electronics can handle the stamps as reminiscent of old classical recordings but also make hybrid sounds, pure, dirty, intruders. The instruments use the game modes derived from post-electronic music, especially the voice takes many forms (singing, traditional folk songs, rock, spoken voice, sounds ...).

Klangkabarett The party is the work of Kurt Weill - In collaboration with Brecht especially. He borrowed a few excerpts in "Music Hall" U.S. time of prohibition. It has also inspired silent film by Tod Browning, circus, John Waters and Bob Fosse Cabaret . But its substance is essentially a result of his own compositions.

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Cabaret - A Brief History Project

Berlin 1930: from its defeat in World War I, this very violent struggle between communism installed and the rise of Nazism, its economic crisis, its crisis housing, but also its vibrant cultural life and its sexual liberation, lost all its landmarks and its features clearly, all that comes his Cabara t.

While it is a bit the heir to the satirical songs and skits Montmartre, but he never had so much of writers and composers of talent that the supply in words and music. Berlin, city of the "divine decadence" exerts a fascination on the avant-garde artists and intellectuals from all over Europe, they find the unique opportunity will present the results of their research.

In the cabaret, the woman comes out from the shackles that are usually reserved as a Lili Marlene, a Claire Blandine Ebinger Waldoff or which might well be directed by Max Reinhardt, great director Berlin, plays the femme fatale, dressed like a boy, drinking, smoking and talking loudly. The man is also subject to the confusion of genres, he defaces, disguises herself and through sensual dance evokes sado-masochistic practices where it is dominated.

Love, seduction and sexuality are discussed with humor or derision. The themes are almost always the same, but the transgression and the grotesque, individual fates exploded, disappointed denounce social and political dramas much greater.

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Klangkabarett

Klangkabarett The project was born of an encounter between musicians of different influences and schools. At a time when music, open to the world, offers so many possibilities, yet the questions remain the same. What language reflects our best ideas? How touching and how to query? The cabaret

seems to unite the components that still work today. As show satirical humor and derision are modes of expression which we believe. But as space research and theatrical sound: an exuberant dance, complaint of a clarinet recital of revolutionary texts, all are actors, musicians, instruments, sounds, narrator. All are in the service of social and political demands which are, however, hardly changed.

On one point, however, we are detached from the cabaret of the last century: the text, often loses its original meaning, it then becomes his abstraction. The sound becomes a character in itself. Thus the ambiguity that appeals to the tavern since its creation is here clearly shown in a music that runs regularly from figurative to abstract.

We share a song sounding the 30s, then just change the voice mail or stamps, it expands the syllables, words and leaves it leaves room for improvisation in which one can imagine a number dance a little cartoonish for after the old tunes back in force as if they did not want all this happens without them.

The principle of the cabaret is that it mocks itself.
The cabaret scene as instrumental.

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Musicians


Wanda Obertova - vocals

Born in 1974 in Montreux, Wanda Obertova performs his singing opera at the Geneva Conservatory, and then with Jean-Pierre Blivet in France and Sonja Stenhammar also in Geneva. For several years she was engaged as a soloist in various Masses and religious ceremonies. Along with his academic studies, she took courses traditional gypsy song in Germany and Czech Republic. In October 2005, she organized a series of concerts at which it occurs with Georghe Falcaru - flute solo-Romanian gypsy group, "Taraf de Haidouks. Its different singing techniques and theatrical experience enable him to collaborate on various projects: regular appearances in the Collective Street North, songs and stories voodoo in Haiti, traditional songs from West Africa, Italy, and jazz several cabaret shows. It develops its language in improvised music with Urs Leimgruber, during the Festival of North Street in 2006 Andrea Parkins, the company CH: AU in 2007, and participated in several performances and sound installations. She teaches singing.


Yannick Barman - trumpet, electronics

holder including a first prize of virtuosity and an Award of Excellence conservatories Lausanne and Rueil-Malmaison (F-J classes . Aubier Michel and E.), he is regularly involved in many traditional training: Tibor Varga Festival Orchestra Orchestre de Chambre de Neuchâtel, Neuchâtel Chamber Orchestra, soloist with the Orchestra National Symphony Orchestra Soloist Latvia AIDIMOS etc. .. After completing his studies in Paris, Yannick Barman went to New York and formed his quintet with Ohad Talmor (sax), Christophe Schweizer (trombone), Deidre Rodman (electric piano) and Jim Hershman (guitar). CD SARAH (Altrisuoni), recorded in November 1999. In Switzerland, Yannick form other groups and participates in different projects: A brass ensemble plus flute, vibraphone, drums and bass to play a repertoire of contemporary music. CD Blue Whale, recorded in 1998. The theater in Monthey Crochetan has commissioned music for the show Crochet'an 2000, played on 31 déc.1999. In April 2001 his quintet becomes septet with Steve Swallow (bass) and Mark Ferber (drums) for a tour in Switzerland and recording in the studios of Radio Svizzera Italiana. September 2001, creating a quartet with Cyril Regamey (perc.), Christophe Schweizer (tbone) and Miles Okasaki (el guit.). Amphibios show with Leon and Daniel Bourquin Francioli for Expo.02.

Anne Gillot - Bass Clarinet

Born in Lausanne in 1972, Anne Gillot completed her studies at the Lausanne Conservatory, where she obtained a diploma of teaching the flute and clarinet . She continued her studies at the Conservatory in Biel Carsten Eckert and won a first prize of virtuosity recorder. She then completed his training by specializing in contemporary music at the Sweelinck Conservatory (Amsterdam), following post-graduate courses of Walter Van Hauwe for flute and Harris Sparnaay for bass clarinet. Anne Gillot gave numerous concerts in Switzerland and abroad (England, Holland, France) and soloist with orchestra, with percussion, piano or different media (magnetic tapes, electronic effects, audio-visual), a quartet or Quintet. It is part of the contemporary music duo 1 +1 with saxophonist Lawrence Estoppey. Anne Gillot develops the language of improvised music by working with a one (excuse me. Yenish Museum in June 2006) with actress Rita Gay (Oriental Tales by Marguerite Yourcenar, Theatre of CPO in February 2006), saxophonist Urs Leimgruber (Street Orchestra North, North Street Festival 2006) and in a duet with Andre Décosterd (Memory, Home Made Festival 2006). Alongside his musical activities, Anne Gillot working for Radio Suisse Romande Espace 2, it is producing the show "Music Today".


Benoît Moreau - clarinet, piano

Born in 1979, it is currently studied composition at the Conservatoire Superieur de Musique de Genève with Michael Jarrell, electroacoustic composition with Luiz and Eric Naon Daubresse. He composed for varying ensembles, acoustic or electronic (Boulouris 5, Vortex). Following groups: Ortolan, the Collective Street North, Thursday, Set Silence, he improvises on the clarinet and piano with musicians from all backgrounds (collaborations with Urs Leimgruber, Paed Conca, Popol Lavanchy, Lucien Dubuis, Antoine Auberson, Jonas Kocher, Jean Bordered ...). He has toured Switzerland, France, Germany and Italy (especially with his quintet for which he wrote Ortolan music). Conducted film music with the Ensemble Silence (winner of the international festival of the silent film set to music in Aosta in 2003). Co-founder and president of the Association of North Street, it also organizes the Festival of North Street.


Ariel Garcia - guitar, banjo, trumpet

This young man aged 30, born in 1977, has, during his studies in Literature is unfaithful to them playing guitar in various formations of this beautiful region which lies north of Lake Geneva. Having initially committed to a highly touted wedding music and Verrees as within groups such as the Collective Street North, Martin Rewki and employees of the month, Luft, etc. ... he has since specialized in musical approach more challenging and experimental, as in within groups such as the Collective Street North, Martin Rewki and employees of the month, or Luft.


Dragos Tara - bass

Born in 1976 in Bucharest, he lived in Switzerland since the age of 5 years. He studied bass guitar and double bass with Mathias Demoulin then with Michel Veillon at the Conservatory of Lausanne. Currently, he studied composition instrumental with Michael Jarrell and electro with Luis Naon at the Geneva Conservatory. Member of various improvised music: the 4tet Kiku * 2 (electr., tp, Clarin., Cb, batt.), The trio YET (Pipa, sax, Cb), a trio with Andrea Parkins (acc.-electron. ) and Laurent Bruttin (clarin.), a threesome with Lawrence and Quentin Bruttin Sirjacq (prepared piano), and a duo with Sebastien Roux (electr). He also made personal projects: Performance for musicians, dancers and electronics to the old prisons of Vevey (2005); Game: musical duel for double-quartet (2004), a solo show (2001), a 4tet of basses (2000) . His compositions for various ensembles: the Ìllorkestrâ (2004), the company CH: AU (2004), the 5tet Bolouri (2005), Petru Iuga (concerto for bass and orchestra) and music for film.


Luc Muller - drums

Born in Basel in 1973, Luc Muller graduated from the school instrumental jazz (EJMA) where he took courses Battery Marcel Papaux. He also benefited from the education point of Daniel Humair and Pierre Favre. Having explored in various training all kinds of musical worlds, he now focuses primarily improvised music and contemporary jazz.

Benedict Blampain - staging

is born in Namur in 1960. After two years at the Brussels Conservatory, he studied at various stages, including as an auditor Comedy in Geneva on "Man to Man," directed by Benno Besson in 1988 and two operas at La Monnaie in Brussels: "Un Ballo in Maschera" directed by Guy Joosten in 1993 and "Wozzek" in 2001 . Since 1985, he participated in many productions as a director in Belgium but also in France and Switzerland. From theater to the opera, he worked with both actors and musicians. It showcases including "Drops on Burning Rocks" Fassbinder at Namur in 1990, "Magic Red Mr. De Ghelderode Theatre of the Marquise in 1999," Pastor " Sacha Guitry in the Theatre Royal Park in 2001 or "the love of Clara with Cecile de France and Mitsuko Shirai at the Theatre des Martyrs in 2004. Since 2007, he practices his art between Belgium and Switzerland in particular. He toured with "Sganarelle or imaginary cuckold" Molière, he goes "The human voice," an adaptation of the work of Jean Cocteau at the Oriental theater in Vevey, September 2008. Benedict Blampain gives workshops for actors in Switzerland and Belgium. He is founder of The Meter Co. (1998) and artistic director since 2002 of "Green Theatre" Summer Festival in Hainaut.