Sous-jacent
The “sous-jacent” concert presents a program focused on ambiguity, on what lies hidden in the different layers of meaning.
“Harmonie du soir” by composer Alithéa Ripoll features soprano singer Sarah Raiss entering into dialogue with a soprano voice coming from the loudspeakers, thereby creating intriguing ambiguity and fragile confusion for the audience.
Soprano singer Rebecca Gray offers an ambitious program for solo voice, featuring original compositions by herself, Gabo Champagne, a collaboration with Sarah Pitman, plus pieces by established contemporary composers such as Luciano Berio and Cathy Berberian.
The closing piece, “háptô” for percussion by Tom Lachance, is inspired by the composer’s research into synaesthesia. For this composition, he was interested in translating opposing sensations into sound, such as smooth and rough, hot and cold, etc.
At the end of each concert, post-show discussions allow spectators to ask the artists their questions. This allows the public a better understanding of the works presented and the artistic approaches of the artists programmed with a perspective of exchange, sharing and democratization of contemporary musical works.
Warning: low light and red lighting for the piece “Harmonie du soir”.
Program
Alithéa Ripoll, Harmonie du soir, for soprano voice and electronics (13’15”), 2019.
- Alithéa Ripoll (she), composition
- Sarah Raiss (she), soprano voice
- Marie Billy (she), soprano voice recorded
Tom Lachance, háptô, solo percussions (9′), 2022.
- Tom Lachance (he), composition
- Béatrice Roy (she), percussions
Rebecca Gray, WTF Jane Eyre, for solo voice (8’), 2019.
Luciano Berio, Sequenza III, for solo voice (8’), 1966.
Gabo Champagne/Rebecca Gray, 50 chromatismes, for voice and electronics (15’), 2025.
Cathay Berberian, Stripsody, solo voice (7’), 1966.
Sarah Pitman & Rebecca Gray, [title to come], for solo voice (8’), 2025.
- Rebecca Gray (she), soprano voice
