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 that of 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 the sirens…
It is this paradoxical perspective that Songs and Voices refers to. It is a form in which the poetic question that arises is: what remains of 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 song?
The exploration of these two dimensions has led to the creation of a vocal and instrumental musical journey that unfolds 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 real-time electronics.