Katarina Livljanić's original project, Arijadna živi, brings to musical life Italian translations of Ovid dating from the fourteenth to the sixteenth centuries, drawing on research into the musical material of the Florentine Camerata. Working with director Olivier Lexa and in collaboration with Pino De Vittorio, she has shaped this material into a compelling and powerful musical and theatrical performance, distinguished by polished, flawless vocal delivery and instrumental accompaniment of equal refinement.
Nataša Maričić, Vijenac
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This programme is the fruit of an erudite investigation led by Katarina Livljanić : prayers (from the Book of Radoslav), incantations (Glava Hr'stova), excommunications (Koli že krešten ne budet), exorcisms (Zaklinam tebe, prinecisti dusce), meditations orchestrate a programme based on the individual polarity of life/death and, more largely, creation/destruction. The itinerary is also structured by declamations drawn from the tombs, in the manner of an ancient choir, as we learn from the libretto: a harsh polyphony in the ganga style, marked by chromatic effects and microtonality. (…) Since the sources are virtually silent on the musical dimension, these evocations are based on the vocal practices that survive in orality. A laboratory where paganism is not missing from this melting pot, and where spirituality is imbued with folkloric elements.
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In Meudon, the Dialogos ensemble brings Hecuba back to life
Revived to the taste of a double Italian and Croatian Renaissance, the Queen of Troy, surrounded by a few selected partners, sings of hope and sacrifice, life and death, dreams and reality. Tragic and magnificent.
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The Winchester Troper, a jukebox +++ well ahead of its time, survives in two manuscripts: a veritable Ark of the Covenant of polyphony, notated around the year 1000. With each new recording, Dialogos and its founder, Katarina Livljanić, fashion ingenuous, often crime-thriller-like dramas from the material. Here, two voices and two instruments recreate an attempted poisoning in the style of a game of Cluedo. On 19 February 964, Bishop Æthelwold expelled the canons of Winchester and replaced them with monks from Abingdon. The chronicler Wulfstan described the canons as depraved, insolent, gluttonous, drunken and highly promiscuous; they had even allegedly attempted to poison the bishop. Drawing on neumes whose interpretation remains hypothetical, the performers bring this little theatre of depravity back to life. God gave music to humankind to cleanse it of its impurities. And the result is absolutely stunning!
CDR, Libre Belgique
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