Composing for voices and Orquestra Gulbenkian
I am participating in the ENOA Workshop Composing for Voices with Luís Tinoco, happening at Calouste Gulbenkian Foundation in Lisboa. The goal of the workshop is to compose a piece for Orquestra Gulbenkian and singers, to be premiered in a public concert on 13th July 2019. To add to the excitement, the workshop is divided in three phases, where the composers will work together with the musicians and the composer Luís Tinoco – having the rare chance of trying out ideas with the orchestra and singers before the final composition.
I am composing the music for a stop motion animated short film, called Ana Morphose, from the director João Rodrigues and the production company Bando à Parte. Having a child called Ana as the central character, the film started to be developed in 2015 and will be released in 2019.
My piece Sul, written for the Nieuw Ensemble (Amsterdam) in 2012, will be played at Teatro Nacional de São Carlos in the 26th of January, by Orquestra Sinfónica Portuguesa, conducted by Mark Simpson.
O Regresso do Futuro (provisional title) – a theatre play based in “The Bedbug” by Mayakovsky
I am thrilled to once again collaborate with Teatro de Ferro (https://www.teatrodeferro.com/) in a play directed by Igor Gandra and co-produced with Teatro de Marionetas do Porto. Besides composing the music, I will also work with the actors who will be singing in the play. The premiere will happen in the Summer 2020.
Luisa – a vision for an opera
Since the Opera Creation Workshop (part of the Festival d’Aix-en-Provence, https://academie.festival-aix.com/en/workshop/2018-opera-creation-workshop) in July, me and the stage director Max Hoehn (https://www.maxhoehn.com/) have been dreaming about creating an opera based around the life of Luísa Todi.
The singer Luísa Todi (1753-1833) is one of the greatest female figures in Portuguese history, having been called “the voice of the century”. She lived through the Lisbon earthquake and the Napoleonic Wars, brought up six children, battled misogyny and encroaching blindness and performed to great acclaim all over Europe, from London to St Petersburg.
For now we are in the research phase, trying to put together bits of her life intertwined with the eighteenth-century opera world in its liveliness, chaos and rivalry.