Electroacustic music

Bruitage (in Hans Werner Henze’s Phaedra) electro-acoustic (2007)

Publisher: Chester
Performance: Berlin, Staatsoper – 6, 8, 9, 10 Sept. 2007 [WP]
(partial list) Brussels, Théâtre de la Monnaie – 15, 16, 17, 19, 20 Sept. 2007 [BE P]
Vienna, Theatre an der Wien – 31 May, 1 June 2008 [AT P]
Firenze, Maggio Musicale Fiorentino – 5, 6, 7 June 2008 [IT P]
Frankfurt, Alte Oper – 10 June 2008
Heidelberg, Opera –1, 6, 20, 29 Nov.; 8, 19, 28 Dec. 2008; 15, 23 Jan. 2009
London, Barbican Centre – 17 Jan. 2010 [UK P] [Independent review]
Luzern, Theater Luzern – 8, 12, 18, 22, 24, 30 Sept.; 10, 16, 22 Oct. 2010 [CH P]
Düsseldorf, Deutsche Oper am Rhein – 29 Oct.; 2,6,14 Nov.; 1 Dec. 2010
Philadelphia, Opera Company of Philadelphia – 5, 8, 10, 12 June 2011 [US P] [New York Times review]
Berlin, Schillertheater – 9, 10 Jul. 2011
Duisburg, Deutsche Oper am Rhein – 17, 27 May; 7 Jun. 2012
Broadcasts: WDR 08–09–2007
(partial list) RAI Radio 3 07–06–2008
Reviews: The Independent (Anna Picard) 24–01–2010 : «Francesco Antonioni’s powerful electronic bruitage»
(partial list) BBC Radio3 Blog (Rosalind Porter) 08–02–2010: «Perhaps the most indelible impact of the evening came with the use of electronically generated pre-recorded music – or ‘bruitage’ – at key dramatic points of the opera. This was particularly powerful at the moment when Hippolyte was taken down into the Underworld as the lights dimmed and this incredibly evocative sound-scape (by Henze’s assistant Francesco Antonioni) enveloped the auditorium. Suddenly the audience was transported into another, parallel world, far removed from that of the orchestra and singers we’d previously been listening to; this was something much more intangible, something almost alien to our musical aural concept. It was spine-chilling in the suddenness and searing intensity of its effect.» http://www.barbican.org.uk/media/events/8557henzephaedrafinalversion.pdfMusicweb-international (Mark Berry)
«The bruitage of the second act (that for both acts was provided by Francesco Antonioni) was in some senses a contrasting relief – and rather an impressive one, by turns realistic and abstract, and with clear dramatic purpose.»
http://www.musicweb-international.com/SandH/2010/Jan-Jun10/Phaedre_1701.htm
New York Times (Steve Smith) 05–06–2011: «Mr. Henze’s music turns toward the fantastical in Act II, with fleeting hints of tonality, incursions of electronic sound fashioned by Francesco Antonioni…»

Mouvement (after Debussy) Electro-acoustic (2003)

Commission: Amici della Musica, Cagliari.
Duration: 13 min.
Performance: 8 June 2003 – Cagliari (IT), ExMà [WP]