The medium of the naked voice intrigues me in the musical and theatrical possibilities it offers and in the duality of vulnerability and feminine strength that can be expressed through it.
My aim is to develop a unique new repertoire, that will not only supply new pieces for this medium, but will also develop new means of musical expression and new ways of using the voice as a tool for these means.
Some of these pieces are be for solo voice, some include tape parts and/or live electronics and some combine improvisation.
I have chosen to work with composers that have varied backgrounds, distinct 'voices', since I also aim to build a repertoire that will reflect the inter-cultural connections that exist in our society.
solo
+ Month of Ghosts (2003) by David Dramm for voice and tape, 13:30 '
On the first of day of the seventh lunar month, the Taiwanese are visited by their ancestors in an elaborate festival for the dead called the Month of Ghosts. Each summer, the Gates of Hell are opened and the deceased are welcomed with gifts, huge banquets and round-the-clock opera. The living plan their days with extreme caution during this period, since if the dead feel neglected or unsatisfied, bad luck is sure to follow.
A dead daughter returns home, whispers in her mother’s ear a story of deceit and murder, accusing her of betraying her two daughters to a more powerful boss. The accompaniment is made up largely of a re-edited 1918 Victor recording of the violinist Mischa Elman and friends playing a Schubert minuet. Additional violin recordings were made by Anna McMichael. ’Month of Ghosts’ belongs to a series of pieces inspired by Giraud’s poem ‘Pierrot Lunaire’.This piece relates to ‘Evocation’, also known as ‘Madonna’. The piece was commissioned by Ayelet Harpaz and Fonds voor de Scheppende Toonkunst.

+ Stabat Mater (2003) by Sidney Marquez Boquiren for voice and three CDs, 7'
The score of the piece consists of nine sets of directions, each set having one or more options, ranging from specifically notated music, to more “open” vocal gestures, to relatively free improvisation.
The tape part consists of three separate CDs based on three different samples (processed, altered, and manipulated in various ways). During the actual these CDs are played back so that they are superimposed all together, played one after the other after a brief interval, but without predetermination of their order. Additionally, one CD is to be played back in random mode.

+ Haiku for Ayelet (2002) by Netochka Nezvanova for voice, tape and live electronics, c. 12'
A result of a long collaboration between the composer and the singer, in which they researched the relationship between the voice and it's real time and non-real time processing. The material for the tape is composed solely of the singer's processed voice. During the performance the singer uses a Micro-Modular synthesiser to create live effects.

+ Summoning Dawn (1998) by Magnus Robb for solo voice, 8'.
A piece inspired by the song of the Siberian rubythroat, that traces parallels between the rubythroat's song and the possible evolution of human languages and music and creates a new language out of onomatopoeic names of birds from various human languages.

+ tetTIX (2000) by Yannis Kyriakides for voice, tape and live electronics, 15'
An electronic garden of Eden - a drum machine calls out to its fellow rhythm machines in nature - homoptera - hymenoptera - orthoptera - heteroptera - a simple song of mating and territorial definition.
The tape part of this piece consists of manipulated insect sounds and a drum machine. The singer uses an effects unit to manipulate her voice during the performance.

+On Words:Y (2001) by Luiz Henrique Yudo for at least one instrument producing three sounds, c.4'
On Words is a monumental composition, in which the composer has rhythmically transcribed the Breil symbols for all the words in the dictionary.Each letter forms an independent piece, assigned for a different combination of instruments (or for a solo one). Each piece contains the transcription of all the words which appear under that letter in the dictionary. This is the only instruction the composer has assigned. The two additional sounds are produced by percussion on the body, which is amplified with contact microphones and processed through a “Virus’ synthesizer.

+ Na Ya! (It's Me!) by Seung Ah Oh for voice and temple bell (played by the singer), c. 4:30'
The text of the piece consists of a limited number of Korean words and sounds borrowed from percussive instruments. Each word or sound have their designated note and gesture. Only the centre of the piece contains a full spoken sentence - 'I do know your voice'. The temple bell functions as a stuctural marker.
photo: Luiz Henrique Yudo
'Month of Ghosts' in Kikker
14 Feb 2003, STEIM, Amsterdam.
3 May 2003, Theater Kikker, Utrecht.
9 May 2003, Korzo Theater, The Hague.
26 Nov 2003, Corrosia, Almere.
15 Jan 2004, Grasland, Haarlem.
8 Feb 2004, Gigant, Apeldoorn.