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Next 6 April at Auditorium Mascagni Livorno, the WP of RESONANCE CONCERTANTE Concert – Performance for accordions, voice, dance-movement with Patrizia Angeloni (accordion, voice) Ingrid Schorscher (accordion, voice, dance-movement). Concept by P. Angeloni, I. Schorscher; choreographie by I. Schoerscher. Music by S. Bonilauri, J. Cage, G. Aperghis, P. Rotili, H. Lee, M. Toledo, R. Ventimiglia, A. Abbott, F. Poulenc, G. Ligeti.
Come if you’re around!
Inside Resonance concertante
Movement is sound that cannot be heard, sound is movement that cannot be seen. It is a game of interlocking relationships between sound and movement which creates visions and illusions, so that everything perceived turns into a poetic act.
Resonance is born out of the desire to deepen the understanding of the different dimensions of perception which are involved in music and movement/dance and scenery. Movement/dance can be perceived as silent sound, sound as an invisible movement. 
A game of interconnected resonances that create visions and illusions so that every perception becomes a poetic act through the sensual experience. The choreography is based on three dimensions: the pure architecture of an abstract movement; a physical expression inspired by daily movement that, together with voice and breath, changes into dance; movement as a concrete expression of a inner experience. The choice of not employing a concrete plot or text has the effect of casting the audience in the role of co-protagonist. Music and movement help to construct an interior space, and thus open the way for a very individual experience.
The music chosen comes mainly from the repertoire of the 20th and 21st centuries. But there are also works that have been created specially for this project (works by (Stefano Bonilauri, Paolo Rotili, Hope Lee, Marcelo Toledo, Roberto Ventimiglia). These often consist of fragments of no more than one – three minutes, with the composers aiming to exploit the full sound palette of the modern accordion as a way of displaying the multi-faceted possibilities of the instrument.
The dramaturgy consists in a precise sequence of pieces – some compositions and others short improvisations, together with speech. Moments of suspense are created through musical parameters, for example pauses, shifts in dynamics, and changes in tempo; these are then taken up by movement, voice and the evolving decor. The actress acts and interacts with the musical structure, coming into “resonance” with it. It is these moments in particular that are likely to make a powerful impression on the public. The essence of music cannot be separated from movement, from a body that lives, pulsates, breathes. The same is true for the musical connections, which cannot be separated from the synergy between the different levels of the senses and the bond between artists and public. The public is invited to feel this “resonance”, to embrace the ambivalence of what is happening, its multiplicity of connections and ramifications, its presence that pulsates – full of contradictions, hesitations, and ultimately dissolution.
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