In 1917, the Czech composer Leoš Janáček wrote Zápisník zmizelého: ‘The Diary of One Who Disappeared’. This spirited tale in verse is about a village lad who gives up everything to follow a mysterious gypsy girl. The resulting 22-scene song cycle is a delicate mix of cruelty and tenderness.
Marc Vanrunxt creates a dance performance based on the work of the solitary Lucien Goethals, pioneer of Flemish electronic music. The result acts as a journey through time, towards what in the 1970s was still the music of the future, and which quite possibly still sounds like that now.
Hieronymus Bosch’s painted scenes look like hell on earth. The seven deadly sins are having a field day in his Garden of Earthly Delights, while its inhabitants keep on smiling – in spite of their suffering. 500 years on, in his first opera, the theatre maker Kris Verdonck translates this false paradise into the 21st century.
Charlemagne Palestine is unleashing his strumming technique on the Bösendorfer Imperial: a piano that covers eight complete octaves. His instrument looks like a sculpted altar made of cuddly toys. He elevates these to divine creatures or shamanistic totems that are always close by.
Maarten Seghers looks for a confrontation with the artists, musicians and dancers Fritz Welch, Simon Lenski, Nicolas Field and Mohamed Toukabri, for whom he wrote an invocatory song about the noisiness of comforting.
During these two performances, author and artist Romy Rüegger and electronic music performer Deena Abdelwahed reflect on the ways in which you can relate to the world as an individual and how you can interpret the past as part of the present.
The Liquid RoomSeries by the musical ensemble Ictus has gradually acquired cult status. Every Liquid Room has a theme and this time round, it is ‘light’. A new generation of composers makes use of light as if it were a compositional building block, just like sound or movement.