Lili Marlene

Project Na juriš in the mood
Carmina Slovenica
"Lili Marelene" by Mojca Potrč

photo: property of Carmina Slovenica

Georg Friederic Händel: Lascia ch'io pianga

MOJCA POTRČ - vokal / voice
ZSOFI KLACSMANN - čelo / cello
SIMON DVORŠAK - klavir / piano

(Choreography: Valentina Turcu; dancers Evgenija Koškina & Sytze Jan Luske)


Movàzs was formed in Maribor in 2013. Its members are vocalists Valentina Čuden and Mojca Potrč, cellist Zsofi Klacsmann and pianist Simon Robinson. Performing with them are ballet dancers Evgenija Koškina and Sytze Jan Luske.

Killing Me Softly

'Serafine' (Seraphim) is a vocal group from Slovenia consisting of VALENTINA ČUDEN, MOJCA POTRČ and DADA KLADENIK. All three members are also singers with the Maribor Opera house. Their repertoire is a variety of popular music, arranged by the trio itself, with Valentina Čuden at the piano. In 2014, 'Serafine' plan a concert 'Around the Music' that will take its listeners from the early sounds of the blues to modern day pop songs.

photo: Matjaž Wenzel

9 to 5

Bob Leta 2014 (Radio and Television Slovenia live)

BOB LETA 2014 / Serafine & Toti Big Band / 9 to 5

Morton Feldman: Three voices

Choregie - new music theatre

Drawing on the idea that many identities within one personality exist simultaneously, work shows that they are connected, yet one cannot always see the connections between those multiple identities of any given individual. In today’s ever-changing and increasingly demanding world we are forced to define ourselves anew. Also, we are constantly trying to better define ourselves, to find the source or essence as we attempt to realize who we really are and what we are searching for. In contrast to this search for an essence there are many who create an identity to be able to promote their interests in achieving a level of social or economic success. They invent an image of themselves based on socially understandable and accepted symbols that, for example, represent power and control over the others. They all belong to the world in which they are ‘like’ a Virgin but not a real Virgin. This is the world of Madonna, who is nowadays the symbol of a ‘society of constructed images’, while constantly playing with her identities.

Music: Morton Feldman: Three voices

Performed by: Ensembles ¡Kebataola! and Prime

Concept: Jovana Popić
Artistic direction: Karmina Šilec
Set: Jovana Popić
Video: Nurgül Oruc
Costume: Tijana Pavlov
Premiere: 2012, Choregie aka Choregie, Maribor

photo: Dejan Bulut

Gavin Bryars: Laude Cortonese


Marian hymns inspired by paraliturgical medieval music from Tuscany

The roots of the collection Laude Cortonese can be found in the world of medieval music. The spirit and feeling of the pieces are based on melodies from Laudario di Cortona – a manuscript from Cortona (Biblioteca del Comune e dell'Accademia Etrusca di Cortona), a music codex from the second half of the 13th century. The majority of the pieces are devotional songs to the Virgin Mary. Even though Bryars’s work was composed a couple of centuries later than the Codex Cortona, it retained medieval atmosphere. In the composition technique the composer draws closer to the number of notes to a syllable that are found in the original music, he also often quotes or parodies the elements of melodic contours or individual phrases. It was a challenge for the author to write a piece that is "so exposed, so naked and unadorned", where he "could not hide behind a skillfully orchestrated accompaniment" – "like a painter who has hitherto had the luxury of painting massive canvases with dense oils , being obliged to work in pen and ink, in black and white, on a simple piece of paper". Laude Cortonese are a reflection of the composer’s love of solo voices, particularly sopranos.

Laudario is an Italian equivalent of the Latin word laudarium – a collection of hymns. The codex Laudario di Cortona dates back to around 1250 and contains laudas or hymns in folk language, dedicated mostly to Virgin Mary, but also to other saints. Laudario includes simple monophonic pieces, some of them also with accompaniment, and music pieces in early forms of polyphony for particular days of the church year.

These melodies are paraliturgical music that didn’t used to be performed as part of liturgy. It was performed by confraternities that did not belong to any church and offered alternative forms of church ceremonies for the believers who did not want to adhere to any specific church or monastic community.

Performed by: ensemble ¡Kebataola!

Performers: Urška Breznik, Nina Dominko, Mojca Potrč
Artistic director: Karmina Šilec

Production: Carmina Slovenica, Cycle Choregie