by Claudia Galhós
How many textures and bodies can you find in a melody?
The starting point is a line, a melody excerpt, from the opera “Carmina Burana”. And the starting point is also approaching it through a choir organisation. But that doesn’t mean that is simply voices coming together to sing the opera. Gui Garrido wants to find other positions for the body to express the sound. He wants to search for other textures that might exist as potential within the sounds.
With him are Dejan Srhoj, Li Alin, Claudia Gaiolas and Paula Diogo. And other exterior (really?) observers, such as Stefan Schwartz – that ends up by joining the choir. Gui is aiming to find 10 little sequences, that will come out of the experimentation.
For the first day – 19th July, thursday – they experimented singing through rhythms such as breathing, talking, percussing on the body, crying, laughing, in a kind of smoking sound that is produced through inspiration, with open mouths… At the end, Li proposes finishing the session by singing it, even if with the wrong lyrics or words. They try it. But then it turns out to be a fake ending. Gui would have kept going on… but he didn’t resist proposing one more approach. And they jumped to the end of that first day, while still chanting “Carmina Burana”.