#Berliner Ensemble 2024

[henry6666661]

[schroeersche]

One of three steles with quotes by Bertold Brecht on the place in front of the Berliner Ensemble. October 11, 2024.

[eddieredmayneargentinablog]

"Cabaret 2024 Musical Ending Explained"

By Gillian Blum Posted: June 29, 2024, for The Direct.

Elusive by nature, Cabaret at the Kit Kat Club is not exactly the Cabaret audiences are used to, and its ending reflects that.

At its barest of bones, Cabaret at the Kit Kat Club starring Eddie Redmayne tells the same story as the four Broadway productions of the show before it. A writer checks into a Berlin boarding house, meets and becomes intimately involved with a tormented Cabaret singer, and watches as the city falls victim to the atrocities of World War II.

Beyond this basic skeleton, though, the 2024 take is not the Cabaret theatergoers are familiar with. Audiences are fully immersed in the story being told on the circular center stage, with the August Wilson Theatre having been transformed into the nightclub from the show itself.

How Does Cabaret 2024 End?

Cabaret at the Kit Kat Club uses its signature shock value to bring a message to the conclusion of the show that audiences familiar with Cabaret might not expect.

In all versions of the show, the Emcee (Eddie Redmayne in 2024) speaks directly to the audience over the course of several interludes throughout the musical. Sometimes he moves the story along, akin to a narrator, sometimes he is part of the story, sometimes he is simply commenting on the story or its setting at large.

The Emcee has been portrayed differently over the years, which will be discussed in more depth later. But at his core, the Emcee is always a unique enigma. He does not fit into any sort of box or label, he is in the show but he exists outside of it, he is crazy but he is also an intelligent guide.

As it repeatedly says on the revival's website, the Kit Kat Club is somewhere to "Relax. Loosen up. Be yourself." So, as Berlin is falling to the Nazi regime, the Emcee exists inside of the club that allows others to escape the chaos of the outside world.

In 2024, the Emcee's intense individuality is portrayed in many ways, including the Emcee's costumes (and those of the ensemble at large). Throughout the show, he wears elaborate, often androgynous, costumes that match the strange, almost Eldritch-like way Redmayne portrays the character.

That is, until the show's finale, wherein the Emcee bids the audience auf Wiedersehen dressed in a plain, gray suit.

In fact, throughout the show, more and more of the ensemble and cast start replacing their loud, colorful, extravagant costumes with this identical gray suit, ending the show all wearing the same, dull outfit.

2024 Cabaret Finale Meaning + Changes Explained

At its core, Cabaret is a show about the dangers of political ignorance or indifference. Sally Bowles quite literally chooses to ignore the outside world, in favor of losing herself to drugs and alcohol in a desperate attempt at escapism.

The Emcee's role in that messaging differs from production to production. In the original Broadway version from 1966, Joel Grey's Emcee represented the city of Berlin itself, his malevolence most obvious in the dark conclusion.

When Sam Mendes re-imagined the show, first in London in 1993 and then on Broadway, with Alan Cumming taking on the role of the Emcee, the character's metaphorical significance was drastically changed. Rather than being the perpetrator, the Emcee represented the victim.

Instead of through extravagant costumes like in 2024, Cumming's Emcee displays his uniqueness through unabashed sexuality. He spends the show essentially seducing the audience and wearing revealing costumes, seemingly without shame.

This version ended with the Emcee taking off an overcoat to reveal a striped concentration camp uniform, with badges denoting him as Jewish, Communist and/or Socialist, and part of the LGBTQ+ community. This was done in an effort to highlight the tragedy faced by the victims of the Holocaust — people like the Emcee who were perceived as "different" in some form or another.

In the 2024 Broadway revival (another reimagining that originated in London, this time by director Rebecca Frecknall in 2021), the Emcee's role in the show's messaging has changed once again.

Redmayne explained to the Washington Post that in playing the Emcee, he shows that even the most silly and out there people "can then shape-shift their way into being something that is serious and is quite dangerous:"

“It was intriguing to me that those people that perhaps you don’t take seriously can then shape-shift their way into being something that is serious and is quite dangerous.”

Throughout the show, there was this idea that no matter what is going on in the outside world, within the Kit Kat Club, "life is beautiful." Despite the spread of Nazi ideology, the Kit Kat Club remains a place where people can express their individuality. The Emcee's (and ensemble's) extravagant costumes demonstrate this.

The gray suits represent the cracks in this fierce escapism, with the darkness and chaos of the crumbling city around them slowly infiltrating the Kit Kat Club. But whereas the ensemble is seemingly forced to conform, the Emcee just shifts into a new role, one that perpetuates this loss of individuality.

Talking to the Washington Post, Redmayne described this new role as the Emcee "being puppeteer, conductor, perpetrator," and not "a victim:"

"Individuality was stripped away as fascism rose and people had to become more homogenized ... So the idea, therefore, of our Emcee as being puppeteer, conductor, perpetrator — rather than the version of the Emcee as a victim — was important."

The Kit Kat Club could not remain somewhere to escape to, it was swallowed up by the chaos many characters hoped it would protect them from. Those who saw the club as refuge, a place to be their unconditional selves, lost the individuality they once proudly demonstrated within the Kit Kat Club's walls.

And the Emcee simply embraced it, just as he had previously embraced the individualistic culture the Kit Kat Club had once been home to.

Why Did Cabaret Change Its Ending?

The 2024 revival of Cabaret is a drastic re-imagining of how the musical can convey its story most effectively.

By immersing the audience in the Kit Kat Club, the show is able to reinforce the feelings of escapism the club offers, before stripping it away and turning it into another place consumed by Nazi conformism.

For her version of the story, Frecknall wanted to emphasize "it being the ensemble’s tragedy," not the Emcee's. Part of this, she explained to the Washington Post, is because, Redmayne is a "a cis, White, beautiful Aryan man," and so "would have been okay" in the eyes of the Nazis.

Despite the Emcee being the pinnacle of individuality throughout the show, when push came to shove, he could adapt and become the Nazi ideal. So many others did not, and those were the people whose story Fracknell wanted to highlight:

"“Productions often land on the tragedy of the Emcee, which works really successfully ... But I was interested in actually getting to the end and it being the ensemble’s tragedy. You know, Eddie would have been okay. Eddie is a cis, White, beautiful Aryan man. I thought it was interesting just really acknowledging that and going, 'Actually, you would walk out of this and these people wouldn’t.'"

Cabaret at the Kit Kat Club is now playing at the August Wilson Theatre.

[slutforpetyr]

Beta Cinema, Constantin Film, Zeitsprung Pictures and UFA Fiction have unveiled the first look photo of The Physician II, the sequel to the hit historical epic.

The original film, released in 2013, sold to over 60 territories and became an international box-office hit. In Germany alone, the film earned $42 million at the box office, with 3.6 million admissions.

The Physician director Philipp Stölzl once again brings together a stellar ensemble of international stars and rising talents: Tom Payne (Horizon: An American Saga, The Walking Dead, Prodigal Son) reprises his role as the passionate physician Rob Cole and shares the screen with Emily Cox (The Last Kingdom: Seven Kings Must Die), Aidan Gillen (Game of Thrones, Maze Runner), Áine Rose Daly (Boiling Point, Hanna), Owen Teale (Robin Hood, Game of Thrones), and Liam Cunningham (Game of Thrones, Hunger).

The shoot took place from August to October 2024 in Hungary, Cologne and Berlin. Constantin Film is releasing the film in German cinemas on Dec. 25, 2025, and Beta Cinema is handling international sales, presenting first materials at the upcoming American Film Market.

[eddie-redmayne-italian-blog]

Eddie Redmayne Says 'Willkommen' to Broadway in First Production Photos from Cabaret Revival (Exclusive)

'The Good Nurse' actor is starring as the Emcee alongside Gayle Rankin as the musical's leading lady Sally Bowles

By Sabienna Bowman Published on April 15, 2024 02:30PM EDT

Eddie Redmayne is ready to put on a show in the first photos from Broadway's Cabaret revival!

In PEOPLE's exclusive first look at the famed John Kander and Fred Ebb musical's return to the Great White Way,The Good Nurse actor, 42, suits up at as Kit Kat Klub's mercurial Emcee. With his jaunty green party hat, oversized brown cravat and black gloves, Redmayne is both intriguing and imposing as the fascinating character.

In another snap of the Emcee in action, Redmayne leaps into the air as several members of the cast dance around him during the show's iconic opening number, "Willkommen."

See Eddie Redmayne and Gayle Rankin in First Rehearsal Photos for Broadway's Cabaret Revival (Exclusive)

Additional photos from the show shine the spotlight on House of the Dragon actress Gayle Rankin in the role of the vivacious nightclub singer Sally Bowles. In one compelling photo, she seems poised to take the stage with a microphone in hand as she's surrounded by ensemble members during the song, "Mein Herr."

Another picture finds Rankin in a ruffly white dress while holding a prop cigarette as she performs the song "Don’t Tell Mama."

The Cabaret revival is being directed by Rebecca Frecknall, who helmed the West End version, which also starred Redmayne. Previews began April 1 at the August Wilson Theatre in New York City, with the show set to officially open on April 21.

Never miss a story — sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer​​, from celebrity news to compelling human interest stories.

Cabaret has long been a success both on the stage and screen. Based on John Van Druten’s 1951 play I Am a Camera, which in turn was adapted from the 1939 novel Goodbye to Berlin by Christopher Isherwood, Cabaret first hit Broadway in 1966. It was later turned into the 1972 film of the same name starring Oscar-winner Liza Minnelli.

The musical tells the story of Sally, an ambitious English singer who starts up a relationship with American writer Clifford Bradshaw as he observes the eccentric characters who populate the Kit Kat Klub in Berlin. Set between World War I and World War II, the growing unrest beyond the club's doors is ever-present as the artists within express themselves through song.

It features a score by Kander & Ebb made up of a string of songs that have become musical theatre mainstays, like “Willkommen,” “Don't Tell Mamma,” “Mein Herr,” “Two Ladies,” “Tomorrow Belongs to Me,” “Money,” “Maybe This Time” and, of course, “Cabaret.”

Jennifer Lopez Visits the Kit Kat Club for Broadway Revival of Cabaret (Exclusive)

Redmayne, who also produces the Broadway revival, has long said that Cabaret “properly ignited” his love for theater, while playing the Emcee in a student production of the musical over 25 years ago.

In an October 2023 statement, he shared, "It now feels completely thrilling and a little surreal to be a part of Rebecca's truly unique vision of Masteroff, Kander, and Ebb's brilliance as it arrives on Broadway, where the piece has such a history."

In addition to Redmayne and Rankin, the rest of the principle cast is rounded out by Ato Blankson-Wood (Clifford), Steven Skybell (Herr) and Tony winner Bebe Neuwirth (Fräulein), as well as Natascia Diaz (Fraulein Kost and Fritzie); and Henry Gottfried (Ernst Ludwig).

The cast also includes, Gabi Campo (Frenchie), Ayla Ciccone-Burton (Helga), Colin Cunliffe (Hans), Loren Lester (Herman/Max), David Merino (Lulu), Julian Ramos (Bobby), MiMi Scardulla (Texas), Paige Smallwood as Rosie, and Marty Lauter (Victor) — also known as Marcia Marcia Marcia of RuPaul's Drag Race fame.

Tickets for Cabaret are on sale now.

https://people.com/see-eddie-redmayne-in-first-production-photos-from-cabaret-revival-exclusive-8633414

[stylestream]

Nicholas Hoult | Dior Men Fall 2024 ensemble | Nosferatu Berlin Premiere | 2024

[experimentik]

Experimentik #77 / 18.Sep.2024 / chirp crush / Kristina Warren

18. September 2024 / 20:30- (doors 20:00) *no entry during sets

duo: chirp crush Verena Barié - recorders, electronics Sjoerd Leijten - electric guitar, electronics

solo: Kristina Warren - electronics

FB event ---------------------------------

Das Konzert ist Teil des Monats der zeitgenössischen Musik Berlin der initiative neue musik e.V. / field notes berlin

title photo © Seiji Morimoto

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Das Ensemble chirp.crush - Verena Barié und Sjoerd Leijten - traf sich 2017 in Amsterdam (NL) und kreiert seitdem Klanglandschaften und experimentelle Narrative.

Ausgehend vom Atem als Tonerzeuger gestaltet chirp.crush - zusammen mit Markus Hennes/Stimme - abstrakte Narrative durch vielschichtige elektronische Prozesse und elektronisches Instrumentarium. chirp.crush verstehen sich als Grenzgänger zwischen experimentellem Hörspiel, Radio- und Klangkunst. Das Ensemble wurden durch zwei FEB-Ensemble Stipendien (2021 & 2022) des Musikfonds e.V. gefördert, sowie von der Kunststiftung NRW und dem NRW KULTUR-sekretariat im Rahmen von Aufführungen in LTS4 im Lichtturm Solingen.

Verena Barié (*1994) ist eine weltweit agierende Blockflötistin, Medienkünstlerin, Komponistin und Kuratorin. Nach einem klassischen Bachelorstudium mit Hauptfach Blockflöte absolvierte sie das Masterprogramm Live Electronics des Conservatorium van Amsterdam. Die Blockflöte hat Barié schon früh an die Schnittstellen von Musik, Neuen Medien und Performance-Kunst geführt. Seit Oktober 2019 lebt sie in Köln und ist als Co-Kuratorin am LTK4 – Klangbasierte Künste Köln tätig. Seit 2021 arbeitet Sie im Vorstand der Kölner Gesellschaft für Neue Musik e.V. und gestaltet das kulturelle Leben der Kölner Freien Szene durch musikalisch-künstlerische Veranstaltungen sowie kulturpolitisches Engagement mit. Mit ihrem Projektraum LTS4 in Solingen kreiert sie dialektische Projektreihen mit Medienkunst. Barié ist neben ihrer Solo-Tätigkeit u.a. seit 2017 im Renaissance Doppel-Sextett THE ROYAL WIND MUSIC (NL) und seit 2020 im klangkünstlerischen 1. DEUTSCHEN STROMORCHESTER (DE) zu hören.

Sjoerd Leijten (*1982) ist ein transdisziplinärer Künstler, Komponist und Radiomacher mit einem ausgeprägten Interesse an dissidenten Klängen und Politik. Er arbeitet häufig mit Elektromagnetismus, field recordings, noise, Echtzeitverarbeitung und Open-Source-Software und -Hardware. Seine Werke umfassen Performances, Konzerte, DIY-Instrumente, Installationen, Veröffentlichungen, Filme und Audio. Seine Musik für Kino und Videospiele wurde mehrfach ausgezeichnet. Sjoerd lebt in Antwerpen (BE) und ist Mitinitiator des von Künstler*innen geführten Veranstaltungsortes TOITOIDROME, situiert in Borgerhout. Beim lokalen Untergrundradiosender RADIO CENTRAAL 106.7 FM moderiert er die zweiwöchentliche Radiosendung TRASHKOT zusammen mit dem Künstler JO CAIMO: „Ein ranziges Gewebe aus Geräuschen, Gesprächen und Müll bildet eine wackelige Brücke zwischen Musik und Politik.”

https://www.instagram.com/chirp.crush/

photo © Vesna Faassen

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Kristina Warren (US, 1989) is a Providence-based sound artist whose live performances offer listeners a gentle, restorative environment. Slow analog cycles combine with detailed field grains and room-specific resonance, interweaving the fringes of attention with warm, present volumes. In Spring 2023, Warren was in residence at Vienna’s [AT] MuseumsQuartier/Q21, collaborating with TONSPUR Kunstverein Wien to present a new sound installation, Lavender Lauds, supported by the Fulbright Commission [US]. Warren’s work has previously received support from Interfaces/European University Cyprus, EMS Stockholm, Spektrum (Berlin), Signal Culture (New York/Colorado), the American Composers Forum, and Non-Event (Boston). Warren has collaborated with ensembles including Chartreuse, JACK Quartet, So Percussion, Talea, Yarn/ Wire, and the Merseyside Improvisers Orchestra. Also active as an organizer of new music performances, Warren was the 2022 Artist/Curator-in-Residence at Providence venue The Music Mansion. Recently a Visiting Assistant Professor of Electronic Music & Multimedia (Brown University, 2017-21), Warren holds a PhD in Composition & Computer Technologies (Uni. Virginia, 2017).

photo © James Lastowski

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Experimentik 2024  is supported by inm - initiative neue musik berlin / field notes

[sugarcoated-lame]

🎶let spotify predict your 2024!🎶

rules: shuffle your on repeat playlist and the first twelve songs represent your 2024

thank you so much for the tag, Anya my love @just-in-case-iloveyou !! 🥰💗💕

January: Lydia Wears A Cross - Julia Jacklin

i’d be a believer, if it was all just song and dance

i’d be a believer, if i thought we had a chance

February: A Night On The Floor - Inhaler

all you dreamers, who dream in bed

where are you going when you lay your head?

all you mothers can’t believe their eyes

pull up the covers and make it a night on the floor, with you all night

March: Berlin - Adult Mom

sit in the car parked in the dark, hearing rain drop on the roof

(in the dark, in the dark, in the dark)

and it’s the sole burden of our excuse

the push and pull, the missed call, the waiting room

April: Night Shift - Lucy Dacus

you’ve got a 9 to 5, so i’ll take the night shift

and i’ll never see you again if i can help it

in five years i hope these songs feel like covers

dedicated to new lovers

May: Life Worth Missing - Car Seat Headrest

fall over the edge

learn to live while falling

every laugh is a path worth following

June: Sugar - Surf Curse

my god, you are such a looker

tell me you love me and give me some sugar

July: Yam Yam - No Vacation

sitting by my side, i hope you’re here to stay

i won’t turn away, won’t turn away, won’t turn away

August: I Was Neon - Julia Jacklin

i was neon, i was the nearest door

i was the sign that said you’ve been here before

i swear i could see it, swear i could see it all so clear

September: Cut My Hair - Sun Room

those blonde days, reckless ways

on my mind

cut my hair, i don’t care

out of time

October: It Hurts Until It Doesn’t - Mothers

i felt your love for a little while

but never had the guts to give myself up

i said that i could be just what you wanted

as if i could ever keep a promise

November: What Baking Can Do - Jessie Mueller, Waitress Original Broadway Cast Ensemble

even doubt can be delicious

and it washes off all of the dirty dishes, when it’s done

i can smile, it’s on someone else’s plate for a while

December: Little Death - The Beths

your smile it makes me weak, and the red spreads to my cheeks

you make me feel three glasses in

and you say my name, my legs support a little less

my tongue becomes a little mess

i don’t really know what this says about what’s to come for my 2024 haha, but this was a lot of fun 🥹

no pressure tags: @sunlightmurdock @sebsxphia @joelsgreys @hangmanssunnies @roosterbruiser @rhettabbotts @fairyheart @joelsgreenflannel @undrthelights @ilovepedro @joels-shitty-puns @mothdruid @ryebecca @sio-ina-bottle @gracieheartspedro @itsthevelvetline and leaving this open for anyone else who wants to do it too bc I’d love to see yours 🥰💗

[zappak]

Andy Graydon & Luke Martin [Transparent Archipelago]

Release date: September 01, 2024 Catalog no. zappak-015

Bandcamp Page: https://zappak.bandcamp.com/album/transparent-archipelago

[Tracklist]

Island 1

Island 2

Island 3

Island 4

Island 5

Excerpt: https://soundcloud.com/zappak/zappak-015

Composed and mixed by Luke Martin and Andy Graydon Additional recordings by Fern Silva Mastered by Luke Damrosch Cover Images by Andy Graydon Thanks to Florian Dombois, Helene Romakin, and Fabian Gutscher for the winds

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About the Composition

To begin, we picked five field recordings from our sound archives; three from Andy and two from Luke. These recordings became our 'material in common' for composing the piece. Next, working independently we each made our own ‘islands,’ areas of sound and silence set in a frame of duration. To create an island, each of us selected five excerpts from the original sound sources. We then gave each sound a 'vertical cut' in the form of a narrow band pass filter, limiting it to a specific frequency range; then applied a ‘horizontal cut’ to each sound in the form of a time edit, choosing a section from the original field recording. This resulted in floating slices of sound laid out topographically within a total duration to form the features of each island. Finally, we superimposed each of our individual islands over one another, like transparencies or photographic slides, allowing their interaction to create new patterns and alternations between sound and silence; opacity and transparency; land, sea and sky. After finishing the piece, we came across a poem by Fernando Pessoa (The Fortunate Isles, 1934) that seems to articulate something we were doing musically. In each listening there is the hope that a novel 'island' will arise, somehow still linked to the indeterminacy symbolized by the sea, to the indeterminacy of our everyday lives, our archives, and the choices made along the way toward this composition: a 'fortunate island,' a 'land with no place' - something we may only stumble upon in a state of half-sleep, half-knowing, eyes and ears half-closed.

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Andy Graydon and Luke Martin are both artists based in the US. Andy Graydon is primarily involved in the study of ecosystems and also works as a filmmaker. Luke Martin is a performer and composer who focuses on music with a focus on silence. In this work, the space is mainly formed by silence, fine sounds, and occasionally very strong bass. They used field recordings as "material for composition" and likened the area of sound and silence to an 'island'. Through editing, the individuality of each 'island' came to the fore, and by mixing the sounds of both artists who had worked independently, the result was a work that was both extremely delicate and strong.

Andy GraydonとLuke Martinはともにアメリカで活動する作家。Andy Graydonは生態系についての研究を中心とした活動をおこなっており、映像作家としても活動している。Luke Martinは無音に着目した音楽における演奏家/作家として活動している。本作は主に無音と微音、そして時折非常に強い低音によって空間が形づくられている。彼らはフィールド録音を「作曲の素材」として利用し、音と静寂の領域を「島」に見立てた。編集によってそれぞれの「島」の個性が表面化し、独自に作業してきた2人の音が混ぜ合わされることによって、結果として非常に繊細かつ強靭な作品へと仕上がった。

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Andy Graydon

Andy Graydon is an artist and filmmaker originally from Maui, Hawai’i. Recent projects have focused on island ecologies, and the listening practices and narrative forms employed by the natural sciences. His work has been presented internationally including shows at the New Museum; Mass MoCA; Berlinische Galerie, Berlin; Frye Art Museum, Seattle; and the Honolulu Biennial. Graydon has collaborated widely as a sound artist and composer, including work with Jennifer Walshe, Jan St. Werner, Ernst Karel, Michael Pisaro, Richard Garet, Delia Gonzalez, Stephen Vitiello, France Jobin, Cecilia Lopez, John Hudak, Sandra Gibson and Luis Recoder.

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Luke Martin

Luke Martin is an experimental musician and writer living in Minneapolis (U.S.). He plays guitar, sine generator, and no-input mixing board, often with friends in and around the Wandelweiser Group, and is part of the ensemble Ordinary Affects. Luke's work focuses on silence and the relation between music and truth. www.lukecmartin.com

Transparent Archipelago is the first duo record by Luke Martin and Andy Graydon, following years of collaboration in performances and screenings in both Boston and Minneapolis.

【Reviews】 Bandcamp Daily "The Best Field Recordings on Bandcamp, September 2024": As artists, Andy Graydon’s work focuses on island ecologies and Luke Martin’s on sound and silence. For Transparent Archipelago, the two combined their interests by making “islands of sound” from their archives. From each field recording, they independently selected five sections apiece and isolated the bass, mids, or treble. The duo then laid these over one another, mixing and matching them into new configurations. Though the original recordings were not necessarily related to islands, the theme permeates the resulting mix. Unidentifiable ringing tones hover like clouds over voices that sound as though they’re underwater. Rumbling bass connects segments of each track as if a submarine is traveling from island to island. And as the listener surfaces to explore each one, a unique ecology reveals itself, similar yet distinct from all its neighbors. (written by Matthew Blackwell) https://daily.bandcamp.com/best-field-recordings/the-best-field-recordings-on-bandcamp-september-2024

[unfug-bilder]

in der ARD-Mediathek

[smn-artistagency]

TOUCH ME NOT - HARA ALONSO

Hara Alonso is a pianist, composer and sound artist from Spain.

Her compositional process is based on bodily experience, exploring multisensory practices, memory, imagination and space as tools for sound creation. In recent years she has expanded the sonic and performative possibilities of the piano through extended techniques, somatic practices and signal processing. Her sonic universe, described as 'gloomy bubbling electronic power ambient', navigates between lush landscapes, minimal rhythms and hypnotic layers with a strong micro-lyrical presence. 

Her music has been presented as an ensemble, soloist and sound installation at numerous festivals such as Mutek (CDMX), She Makes Noise (Madrid), STRP (the Netherlands), Keroxen (Tenerife), OUT.SIDE (Barcelona) or Malmö festivalen (Sweden) among others.

In 2018 her first EP. 'Pianoïse' for piano and electronics, was released by the label Keroxen.  In 2021, Eotrax released her acclaimed first solo album ‘Somatic Suspension’. Free jazz album ‘Ritual para acercarse’ came out in 2022 in collaboration with Susana Santos Silva, Elsa Bergman and Camila Nebbia by Ramble Records. ‘Notions of hope', released on pianoandcoffee records, came out in autumn 2023 with 10 meditative piano tracks. In 2024 he released together with Mexican artist Concepción Huerta the album ‘Hacia la melancolía del futuro’ on the Superpang label.

Hara Alonso works as a researcher in the project ‘Body as Ears’ at the Stockholm University of the Arts. She lectures composition, music programming and improvisation at the Royal College of Music (KMH) in Stockholm and has been a guest lecturer at the Escola Superior de Música de Catalunya (ESMUC) in Barcelona and the Escuela de Música Creativa in Madrid.

PROJECT

touch•me•not emerges as a reflection on the corporeal relationship between the skin and the surrounds a surface, the ocean, a dried flower.

Hara Alonso's new album delves deep into our approach to sensoriality as bodies and sentient beings, by refusing to operate a discrimination of species. In that sense, it invites us to forget the tyranny of the visual, the lineal and the logic and pay attention to the haptic, evoked through a touching sound. It raises the question about the place we inhabit in a world that is weeping to be reenchanted and touched.

In the 18th century, Emanuel Swedenborg introduces the idea of correspondence and takes seriously the senses and the events of the sensual world as a proof of the spiritual world. A century later, Baudelaire, inspired by the Swedish theologian, writes the poem Correspondances, in which the senses are confused, immersed in a synesthetic hallucination.

Hara Alonso takes us on a walk not far away from the path Baudelaire strolled, through meadows, symbols, light and perfumes, entering a dimension of inverted senses where the body spills into a circle of desiring sensations and sensational desires, enclosing an innocent memory surrendered to the whole.

Accompanied by the percussions of Ryan Packard, the double bass of Ville Bromander and Ellen Söderhult’s voice, Hara Alonso weaves a loom composed of halos of harmonies, field recordings, Juno 6 and prepared piano.

touch•me•not will be released as vinyl in February 2025 in the Berlin based label FUU.

Hara Alonso :: https://haraalonso.com/ :: https://soundcloud.com/hara-alonso :: IG ::

Press kit and stills :: download here ::

Head photo by Virginia Delfino

[rastronomicals]

4:50 PM EST November 13, 2024:

Carl Oesterhelt/Johannes Enders -   "Divertimento Für Tenorsaxophon Und Kleines Ensemble Part 4" From the album Late Night Tales: Nils Frahm (September 11, 2015)

Last song scrobbled from iTunes at Last.fm

'Late Night Tales and its predecessor Another Late Night are the names of two related series of artist-curated compilation albums released by Azuli Records in the UK until 2009 when the independent record label Night Time Stories took over the series. Both series were started by the author A.W. Wilde. The tracks on the albums are selected and mixed by a diverse selection of artists asked by Late Night Tales to create the ultimate late night mix.'

And Nils Frahm 'is a German musician, composer, and record producer based in Berlin. He is known for combining classical and electronic music and for an unconventional approach to the piano in which he mixes a grand piano, upright piano, Roland Juno-60, Rhodes piano, drum machines, and Moog Taurus.'

[bspoquemagazine]

Soy Capitán: Current Exhibitions & Events in Berlin

Caroline Wong‘s Feline Theatre will be featured at Neues Haus at Berliner Ensemble. Join us for the opening reception on Friday, October 18, at 6 PM (admission is free)! This presentation is part of Kunst im Foyer, an initiative by Corina and Max Krawinkel, continuing the Berliner Ensemble’s collaboration with contemporary artists during the 2024/25 season. Matthias Dornfeld‘s work is part of a…

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[eddieredmayneargentinablog]

Cabaret at the kit kat Club NYC > Stage door, August 22, 2024

📸 Cr: Chris @wrong_chris on Instagram. #Repost: "Cabaret 082224, Eddie Redmayne delivers a captivating and spellbinding performance in Cabaret as the Emcee, showcasing his talent. The show is somber, compelling, and high-energy, perfectly capturing the atmosphere of 1930s Berlin. The performance harmonizes scenes of luxury and risk with captivating dance routines and impactful music. Redmayne’s charm, combined with a skilled ensemble, transforms this into an essential comeback that revitalizes a timeless musical".

[burpenterprisejournal]

DISCO ROTTO AT AUSLAND

2024/10/24 Disco Rotto: step II JD ZAZIE SISTEMI AUDIOFOBICI BURP ausland Berlin-DE

Second appointment with Disco Rotto, JD Zazie's new project. Disco Rotto aims to relate people's fixed, obsessive thoughts to the practice of experimental turntablism. On 24 October, two weeks after the Step I in Liebig12, Disco Rotto continues the presentation of its work in progress. This time in ausland in Lychener Str. 60.

In addition to the sound installation that opens it and the new solo by JD Zazie, the Sistemi Audiofobici Burp will accompany it with their incredible mixes of wonderful music.

DISCO ROTTO : STEP II Sound Installation: 19:30 - 21:00 JD Zazie - Turntables: 21:00 Sistemi Audiofobici Burp  - Turntables, CDjs: 22:00

JD Zazie Coming from a DJ and a radiophonic background JD Zazie has explored different approaches to real-time manipulation of fixed recorded sound. In her work she redefines DJ and electroacoustic activities. As a solo performer, in small groups, and in large ensembles, she works in an area which is constantly stretching the borders of what could be defined as DJ mixing, free improvisation and composed music. JD Zazie is a member of Reanimation Orchestra, is part of Hic Up (w/ Marina Cyrino, Tony Elieh, Matthias Koole) and plays regularly solo and duo with Heidrun Schramm. She is the art director of the MuseRuole - women in experimental music festival, a member of the Burp Enterprise collective and broadcasts monthly on Colaboradio and on Reboot.fm https://jdzazie.tumblr.com/

Sistemi Audiofobici Burp Since 2001 Sistemi Audiofobici Burp is Burp Enterprise’s main dj collective. Their dj sets will characteristically offer a well syncopated cocktail of colonial, funk and punca music. For the occasion Sistemi Audiofobici Burp will have DJ WJM, DJ JD Zazie and DJ Mat Pogo on the mix. Expect an idiosyncratic blend of polybeatz, afroamericana, noise, mod classical, r&b, error and r’n’r tunes for your listening and dancing pleasure.

https://www.mixcloud.com/audiophobic/

JD Zazie thanks all lovely people who contributed to DISCO ROTTO by sending her their fixed thoughts and 30 sec of sounds to describe them. She therefore thanks in alphabetical order by name: Adrián De Alfonso Prieto-Puga, Caroline Cecilia Tallone, CoCo, Dada Giardini, Doris Schmid, Elisabeth Flunger, Grgur Savic, Heidrun Schramm, Kurihara Takuya, Mat Pogo, Matt Burnett, Michael Vorfeld, Paolo Possidente, Peter Cusack, Petr Ferenc and Roberta WJM Andreucci.

The project is kindly supported by INM e.V.

ausland Lychener Str. 60 10437 - Berlin https://ausland.berlin

[hatanoatsuko]

Atsuko Hatano, Europe Tour 2024

I will tour Germany and Belgium in October.

Oct. 4th in Berlin “Kiezsalon” at Musikbrauerei Info

Oct. 7th in Cologne at Asimmetric Bar w/ Midori Hirano, solo and Duo. https://asimmetric.de Oct. 9th in Leipzig, w/Midori Hirano. DM me for details.

October 12 & 13th 'Dara String Festival' in Berlin at KulturRaum Zwingli-Kirche 12th solo performance and more 13th group ensemble and more Info

Oct. 16th in Brussels at Lord Byron solo performance and sessions Info

Oct. 18th Kiosk Radio (radio concert) 19:00~ Radio gig Oct. 19th in Brussels, at Charleroi Danse solo and session with dancers and Rodolphe Coster.  Info

Oct. 21 'Klankhaven' in Antwerp at Dressing Circles solo and duo with Pak Yan Lau. Info

#schedule #news