A musical walk – from Christ to the Libertines / The chant of Katarina Livljanic enchanted the audience
Katarina Livljanic (...), like a contemporary George Sand, interpreted in a lively and refined way the melodies Claude Debussy and Erik Satie played at the Parisian cabaret the Chat Noir. We heard some songs from the Belle Epoque, imbued with an erotic and frivolous atmosphere, full of humor and charm intertwined by miniatures of Debussy and Satie, delightfully performed by Danijel Detoni. The audience was charmed by these lucid and teasing songs.
(...) the joined voices of the Dialogos and Kantaduri ensembles, full of fervor, color and dramatic power, (...) made the ancient stone vibrate with happiness.
"No props, no sets, no costumes, no instruments — just four women in black singing about the life of a medieval British saint. Somehow this produced theatre of the highest order; a spectacular demonstration of ensemble founder Katarina Livljanic at her most creative and imaginative"
Energetic Katarina Livljanić and her Ensemble Dialogos (whose concert, presented in a simple theatrical mode, featured ancient epitaphs of Dalmatia and Herzegovina in which the dead speak to the living) (…). All had in common the absence of artifice, restoring to music the first and last word.
Ms. Livljanic enacted the ancient drama with splendidly pure singing in Croatian, urgent narration, a penetrating gaze and expressive hands. (…) What makes “Judith” seem almost startlingly modern and metaphysical at times is Ms. Livljanic’s incorporation of other 16th-century texts dealing with inner dialogues at climactic moments in the story.