Between Ash Wednesday (pre-program) and Easter Sunday, the multi-genre festival is a fixture of the Austrian art and culture world. The focus is on the contemporary, which can be experienced in Innsbruck and Hall in the combination of old and new music, dance, performance, film and non-European art. This year’s motto: fluent.
Dance.Move
The Austrian premieres of renowned international choreographers are in flux: Helene plays with closeness and distance Weinzierl’s performance Rhythm & Intoxication (March 24). The boundaries between actresses and actors and audience flow into each other. In Hear Eyes Move. Dances with Ligeti by Elisabeth Schilling (April 1), live music and dance begin to grow side by side and into one another. Ligetis Studies for piano are the starting point. The Palestinian choreographer and performer Samaa Wakim considers in Losing Ithow growing up in a war zone affects their identities (April 4). With Monument 0.7:M/OTHERS Eszter Salamon created a touching work of humanity (April 5th). In all silence, a slow, sensual flow of two generations, full of care and empathy, develops. Soapéra is a playful performance installation by Mathilde Monnier about movement and form (7 April). At the end (April 9th) everything is in flux. The sense of time seems to be in Set of Sets by Guy Nader and Maria Campos.
old.invented
The arch in early music stretches from passions to funeral masses to echoes of our time. One of the most important marvels of western church music, JS Bach Johannes-Passion, will be brought to life by Philippe Herreweghe and his Collegium Vocale Gent on Palm Sunday (April 2nd). Jan Dismas Zelenka, Bach’s equal contemporary, wrote a large number of compositions for Lent. Václav Luks and his Collegium 1704 impressively perform his De profundis, the Miserere and Lamentations (April 6). Manuel Cardosos is in dialogue with the here and now Mass for the Dead. Cantando Admont and three commissioned works by Beat Furrer, Feliz Anne Reyes Macahis and Daniela Terranova deal with the music of Portugal’s golden age. They are Echo, Contrast, and Complement (April 8).
newly.remembered
The contemporary music plays with the wonderful space of the salt warehouse and thereby partially abolishes the classical concert format, breaking down borders. One of the most versatile percussionists of our time, Vanessa Porter, combines current works by Saunders and Pagh-Paan with improvisation and creates unique sound spaces (March 29). Phace takes you into the infinite universe of music of our time. Thus Iannottas, Troianis, García-Tómas’ works play both with the size of the hall in the salt warehouse and with the most diverse forms of artistic expression and let them merge seamlessly (March 31). With its fresh approach, the Ensemble WirkWerk brings contemporary music by Hodkinson, Resch, Steen-Andersen, among others, closer (April 3).
life.worlds
You can get in the mood for the festival from Ash Wednesday with the 40 locations (February 22 to April 8 – daily except Sundays) and the organ play (Saturdays from February 25). A wide variety of facilities are visited and islands of silence and encounters with young musicians from Tyrol are created. Lydia Haider and Julia Goetz (March 27), as well as the films, provide further impetus Shoah (26th of March), Faces Villages (March 28) and Mustang (March 30).
40 places
Wed, February 22 to Sat, April 08, 2023
Every day except Sunday – 3 p.m
Hall, Innsbruck & surroundings
Voluntary donations
During Lent – Ash Wednesday to Holy Saturday – a different place between Wattens, Hall and Innsbruck is visited every day (except Sundays) in order to experience islands of pause together for 30 minutes. The focus of the short actions at 3 p.m. is primarily music and text that deal with the topic fluently dedicate. Art should revive utopia and harmony in the rough spaces of our society. At present, it is still possible that places in healthcare facilities are not open to the public due to the pandemic.
sound spaces
Wed, March 29, 2023
Hall, salt storage – 8 p.m
PAGH-PAAN, READ THOMAS (ÖEA), SAUNDERS, SEYEDI (ÖEA)
Vanessa Porter – percussion
One of the most versatile percussionists of our time, Vanessa Porter, combines current works with improvisation, electronics and performing arts in her performances and creates unique sound spaces. This is also the case on this evening, which was created in cooperation with the Easter Festival Tyrol. The four compositions explore the space of the salt warehouse in very different ways. At the center is Rebecca SAUNDERS’ Dust. A work that plays with both the weight of the sound and the interpreter and tries to make this tangible. Enchanted Invocation by Augusta READ THOMAS is like a meditation for vibraphone and five crotales, in which the instrument’s “liquid” harmonies blur and slowly dissolve. Younghi PAGH-PAAN is moving on other tracks. In Ta-Ryong IV she takes up archaic-rhythmic elements of Korean folk music. One of her students is Elnaz SEYEDI. glass flow plays with opposites, with the transformation and dissolution of dominant sounds. An evening that opens up spaces.
inside
Fri, March 31, 2023
Hall, salt storage – 8 p.m
GARCÍA-TOMÁS (ÖEA), IANNOTTA, NEMTSOV, TRIOANI ua
Phace
The musicians of Phace take us into the infinite universe of music of our time. They play with the vastness of the large hall in the salt warehouse as well as with the most diverse forms of artistic expression and let them merge seamlessly, starting with Sarah NEMTSOVs Seven Colours. As a tribute to her deceased mother, the painter Elisabeth Naomi Reuter, colors can be experienced through sounds. These acoustic images go into Lorenzo TROIANIs The voice of the shells above. He lets the inside of the shells shine outwards. Raquel GARCÍA-TOMÁS solves it with her fresh approach to image and sound Sonomechanical Study No. 1 – Suspended Time away. On the other hand stands Ondrej ADAMEKs Chamber Noise, a nod to Japanese Nô theatre. Katharina ROSENBERGER’s blur leaves the clear forms, she works with blurred contours, blurring edges and outlines. Clara IANNOTTA’s setting of Peter TSCHERKASSY’s creates a counterpoint Outer Space: not only the music but also the performers become part of the film. End and rest point is Sarah NEMTSOVs Threshold. She edits and fragments the Bach chorale Come, o death, you sleeping brother and thus closes the circle. A unique evening created with and for the festival.
Dance: Hear Eyes Move. Dances with Ligeti (2021, ÖEA)
On, 01. April 2023
Innsbruck, Congress (Dogana) – 8 p.m
Compagnie Making Dances
Choreography: Elisabeth Schilling
Music: György Ligeti
Mit Elisabeth Christine Holth, Piera Jovic, Brian Ca, Valentin Goniot, Natalia Gabrielczyk, Cree Barnett-Williams
Cathy Krier – piano
In 2023 György LIGETI would have been 100 years old. His work has had a strong influence on our work. As a composer, teacher and friend, he repeatedly visited Hall in Tirol. His music is still a source of inspiration for artists today, including Elisabeth Schilling. In Hear Eyes Move. Dances with Ligeti she takes us on an impressive journey. Ligetis Studies for piano are the starting point, they will be interpreted live by Cathy Krier. Music and dance begin to grow side by side and into each other: coherent forms that – without dominating each other – produce a dance concert and a concert dance full of captivating images. Maybe we can even hear our eyes moving?
course of things
Mon, April 03, 2023
Hall, salt storage – 8 p.m
BAUCKHOLT, HODKINSON, RESCH, STEEN-ANDERSEN and others
Ensemble WirkWerk
The ensemble WirkWerk has with course of things came up with a project for the Tyrolean Easter Festival that brings us all closer to current music by Austrian and international composers. While the works of Simon STEEN-ANDERSEN and Theo LOEVENDIE examine the visual aspects of synchronicity and choreographic movements, it is deeply human themes such as married life or motherhood that Manuela KERER and Juliana HODKINSON comment on with a wink. Gerald RESCH and Carola BAUCKHOLT feel the pulse of nature and make chirping birds and meandering waves the starting point of their works. The young Tyrolean and South Tyrolean musicians of the ensemble WirkWerk break with conventional listening habits and span a varied arc between profundity and humor.
WirkWerk is always a guest at the Tyrolean Easter Festival. The open access to the format of the concert is intended to make the music of the 20th and 21st centuries accessible to a larger audience. The result is an overall experience that also highlights the venue as an important part of the evening.
Eternal light
Holy Saturday, April 08, 2023
Hall, salt storage – 8 p.m
CARDOSO (17th Jh.), FURRER (UA), KINGS-MACAHIS (UA), Newfoundland (UA)
Singing Admont
Conductor: Cordula Bürgi Cantando Admont leads us into the golden age (Idade de Ouro) of Portuguese music. In 1580 the Habsburg Philip II of Spain inherited the Portuguese crown and left composers such as Pedro de Cristo (around 1550-1618), Duarte Lôbo (around 1565-1646), Filipe de Magalhães (around 1571-1652) and Manuel CARDOSO (1566 -1650) art blossomed. Today they are hardly a concept. In his works, CARDOSO combined old and new stylistic elements into a personal and expressive style; Five volumes of sacred a cappella music have survived. Commissioned works by Daniela TERRANOVA, Feliz Anne REYES-MACAHIS and Beat FURRER flow into Manuel CARDOSOs Mass for the Dead a. They are echo, contrast and complement. Starting with CARDOSO’s requiem mass, the world premieres look at the eternal light and the Passion in the 21st century.
Link:
Easter Festival Tyrol