The title of the play Five Songs (Kafka’s Sirens) alludes to Franz Kafka’s short story The Silence of the Sirens. In his story, Kafka does not tell an alternative story to the one in The Odyssey, a story that would say that the sirens did not sing, but rather suggests a paradox: he insinuates a doubt of perspective, where perhaps lies what attracts Ulysses so much to approach sirens…

It is to this paradoxical perspective that Songs and voices refers. It is a form in which the poetic question is: what remains of the song when the voice disappears? This presence of song in the absence of a singing voice is the source of the sound research. And this first question leads to another: what is the voice without the singing?

Exploring these two dimensions has led to the creation of a vocal and instrumental musical journey between two extremes: extreme absence and extreme presence. A concert for six singers (soprano, mezzo-soprano, alto, tenor, baritone, bass), ten instrumentalists (clarinet, saxophone, trumpet, accordion, percussion, mandolin, guitar, harp, cello, double bass) and live electronics.