Donatienne Michel-Dansac

Donatienne Michel-Dansac

© Jean Radel

Concert

Aperghis I: Récitations

Over 35 years after it was composed, Georges Aperghis’ “Récitations” can be heard for the first time in Berlin in Donatienne Michel-Dansac’s decisive interpretation – a breath-taking experience of vocal art that unites compository imaginative precision and interpretory virtuosity in a work in which theatre emerges from music.

Donatienne Michel-Dansac about the working process:
“For four months I studied four short pieces of the cycle only in my mind. Singing the score right away was impossible, too much for the mind and for the voice. So I started reading the score, then hearing the notes and pitches, then hearing the syllables together with the notes, then hearing the way Georges wanted this music to sound, then imagining the performance – all of this took place solely in my imagination. Working that way ten centimetres of music takes maybe fifteen days … One day I realised that there were only three weeks until the concert, so I put the score on a music stand and started to sing – and it worked, just like that! This was an amazing experience. It was the first time that I worked like that. And I have to say that coping with this music is a very hard task, mentally and physically. You start from nothing, in bottomless space, and you have to find your personal way to get into and to deal with it. But once you do, the music becomes engrained in your body and in your brain. The music has to come from very deep inside, like a native way of expressing oneself.”

From a conversation between Georges Aperghis, Donatienne Michel-Dansac and Berno Odo Polzer, Paris 2006

Georges Aperghis
Récitations
for voice solo (1977/78)

With the support of Institut Français Paris and Impuls neue Musik / German-French fund for contemporary music

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