Vela 6911 - Victor Gama

 VELA 6911
Victor Gama
world premiere
HARRIS THEATER
CHICAGO
5, MARCH 2012
european premiere
GULBENKIAN FOUNDATION
LISBON
20, JANUARY, 2013
TEATRO SÃO LUIZ
LISBON
6 SEPTEMBER, 2013
ROYAL PLAZA HALL
LUANDA
5 SEPTEMBER, 2014
DINKELSPIEL AUDITORIUM
STANFORD
6 MARCH, 2015
HAUS DER KULTUREN
DER WELT, BERLIN
15 JANUARY 2016
Vela 6911 was commissioned by:
Chicago Symphony Orchestra,
MusicNOW
with support from:
Calouste Gulbenkian Foundation
"Vela 6911 is stunning and effected me very deeply." Ian Harwood, Executive Management at CSO Harris Theater, Chicago "In two years running these concerts, I have not seen anyone get a standing ovation at MusicNOW. The piece is extraordinary, and the video worked seamlessly with it." Mason Bates, Composer-­‐in-­‐residence, Chicago Symphony Orchestra "VERY GOOD JOB TONIGHT" Cliff Colnot, principal conductor, MusicNOW Chicago "serious business" Pedro Santos, Music curator, Teatro Maria Matos, Lisbon "We did not see often such a perfect match between visuals and music, both of outstanding quality." Gabriele Lucht Programme Coordinator Haus der Kulturen der Welt, Berlin VELA 6911 - a multimedia piece by Victor Gama
a commission by the Chicago Symphony Orchestra and MusicNOW.
for eight musicians: 2 violins, 2 violas, 2 cellos, timpani, basson
Victor Gama performing his own instruments: acrux, toha and dino.
Salomé Pais Matos performing toha. Duration: 1h 30 mints
Victor Gama's piece Vela 6911 premiered
at Harris Theater on the 5th of March 2012
as part of the MusicNOW series of
concerts at the CSO. The piece was a
commission by the Chicago Symphony
Orchestra and MusicNOW with support
from the Calouste Gulbenkian Foundation.
Vela 6911 was conducted by Cliff Colnot
and performed by musicians of the CSO
with Victor Gama playing his own
instruments acrux, toha and dino. In
January 2013 the piece premiered in
Europe with an ensemble of musicians
from the Gulbenkian Orchestra, conducted
by Rui Pinheiro and featured harpist
Salomé Pais Matos playing toha with
Victor Gama. It was presented again in
Lisbon and Luanda and in the US at
Dinkelspiel Hall in Stanford on the 7th of
March 2015. It was last shown in January
2016 at the Haus der Kulturen der Welt in
Berlin.
The piece is based on the diary of a South
African Navy officer, lieutenant Lindsey
Rooke, who took part in a secret
atmospheric nuclear weapons test
conducted in 1979 off the coast of
Antarctica. The test, detected by a US
satellite called Vela, was the validation of
a military power that engulfed the whole
Southern African region in a 'cold-war'
conflict in the late 70s and 80s. Her diary
shows someone in contradiction between
her love for nature and the mission she
was on, which left a trace of devastation,
death and radioactive contamination in
one of the most pristine and protected
environments on earth.
Score
The music score, inspired by Lindsey
Rooke's somewhat initiatic journey, which
sparked a consciousness awakening, is
coupled by a video projection during the
performance. The video was shot in
Antarctica by Victor Gama and his team
during the field research. It also includes
observations from scientific stations based
in Antarctica. Gama included his own field
recordings into the piece, guided by
Lindsey's descriptions along the trip.
Review Vela 6911
Chicago Classical Review
Michael Cameron
"The centerpiece of the concert was the
string/wind/percussion families, and bear
commissioned premiere of Victor Gama’s
some resemblance to traditional
Vela 6911, a work that also explores the
instruments from Africa, Gama’s native
intersection of nature and technology in
continent. An ensemble of strings,
the guise of an atmospheric nuclear test
bassoon, and timpani performed admirably
off the coast of Antarctica in 1979.
under the guidance of conductor Cliff
Colnot, ...
The best part of the experience was the
inclusion of three of Gama’s invented
There was much haunting and memorable
instruments, objects that were as striking
music (especially in the final minutes), and
visually as they were sonically. The Acrux,
the video montage neatly linked the music
Toha, and Dino fall roughly in the
with its inspiration. "
Vela is a unique sonic experience with a highly diverse range of sounds and an engaging
narrative that the audience can follow through music, video and text. In its four presentations
we were gifted with long-standing ovations.
Minimum configuration for the ensemble
Vela 6911 is performed with an ensemble of
eight musicians with a conductor.
Watch a video of the performance
- two violins,
- two violas,
- two violoncelos,
- tímpani (4 drums)
- basson.
We are a team of four people:
Victor Gama - composer, musician
Salomé Pais Matos - harpist
Paulo Machado - sound technician
Rui Peralta - show control technician
For more information please contact Victor Gama at: email1: [email protected] email2: [email protected] VICTOR GAMA
'the event's most impressive and
resonant mix of sound, vision and
concept was Instrumentos, an
exhibition/performance in the beautiful
Paul Hamlyn Hall by Angola-born
inventor and musician Victor Gama.
Each instrument is a beautiful object;
each implies a different audio-visual
journey that's both ethnic and high
tech.'
The Guardian
Victor Gama (Angola/Portugal) is a
composer, performer, designer of
innovative musical instruments as
well as an electronics engineer. He
holds a BSc in electronics
engineering and an MA in Music
Technology from the Sir John Cass
Faculty of Art, Architecture and
Design in London and was recently
artist fellow at the Stanford
Institute for Creativity and the Arts
at Stanford University and at MIT
Center for Art Science and
Technology. Gama has
collaborated with the Kronos
Quartet who premiered his piece
'Rio Cunene' at Carnegie Hall in
March 2010. 'Rio Cubango',
commissioned by the the Prince
Claus Fund and the Amsterdam
Fund for the Arts premiered in
November 2011 at Concertgebouw
in Amsterdam as part of the series
'Música para Rios'. In 2012, a
commission by the Chicago
Symphony Orchestra resulted in
"Vela 6911" a piece for an
ensemble of musicians of that
orchestra premiered at Harris
Theatre, Chicago in 2012 and
staged on the 20th of January
2013 at the Gulbenkian Foundation
in Lisbon. His most recent piece
3thousandRIVERS: prelude, for and
ensemble and soprano singers was
commissioned for the 2013 Prince
Claus Awards Ceremony at the
Royal Palace in Amsterdam.
He has exhibited his instruments
and sound installations and
performed extensively in Africa,
Latin America, USA, Canada and
Europe, having received a Project
Development Award by Visiting
Arts/British Council for his
exhibition and performance at
Ormeau Baths Gallery in Belfast in
2004.
Among several albums and
recordings for dance and film, his
album Pangeia Instrumentos was
released by Aphex Twin on Rephlex
Records. Naloga is a recent
compilation of works specially
released for the exhibition
INSTRUMENTOS instaled at the
Royal Opera House in London, the
Fundación Carlos De Amberes in
Madrid and Teatro São Luiz in
Lisbon.
Contact information:
Victor Gama
email: [email protected]
tm: +351 91 270 66 12
Music/Tech:
Victor Gama
at MIT
by Anya Ventura
Victor Gama is a composer whose process
begins with the creation of an entirely new
instrument, one whose design is steeped in
symbolic meaning. Concept design, the
selection of materials, fabrication, and
scoring is all part of the rigorous way Gama
creates new music for the 21st century,
blending current fabrication technologies
with ideas, materials, and traditions inspired
by the natural world.
From March 2-7, Gama shared his visionary
work with the MIT community: performing in
a concert, visiting classes and dorms, and
presenting a lecture/demonstration for the
class “Music and Technology.”In each of
these contexts, people gravitated towards
his instruments as if attracted by a
magnetic force. The post-digital world,
Gama said, has circled back to the object.
“The same technology that has
dematerialized the object is working to
rematerialize the object,” Gama said in his
lecture/demonstration. Innovations like 3D
printing and digital CAD modeling have
brought the object back to center stage
after becoming seemingly obsolete with
advances in digital technologies and the
creation of digital sound libraries.
It is about being human, Gama said, and
finding ways to merge the virtual and
physical worlds in profound new ways.
“Can an instrument be a living organism?”
he asked, “Can it learn? Can it interact?”In
Gama’s philosophy — heavily influenced by
the pre-colonial architecture and cosmology
of his native Angola — the instrument is a
ritual form, a container of meaning whose
design reflects a constellation of allusions to
stories, beliefs, and social and natural
events.
The instrument is not just an instrument, but
a “symbolic system” and “semiotic
interface” created by the composer. With
the greater control afforded by digital
technologies, these symbolic systems can
become more finely tightened and tuned,
actualizing a geometry as complex as their
concept.His instrument, “Toha,” for
example, was inspired by the nest of the
weaver bird. “One of nature’s most
astounding sound installations,” Gama said.
The harp-like instrument is meant to be
played by two people, just like the many
birds who would make a home in the nest.
During the military upheavals in Angola from
the late 70s onwards, “the nests were
totally empty, you couldn’t see any birds.
They all had migrated because of the
conflict,” Gama said. Like these densely
woven nests, Gama’s work — both the
instrument and the resulting music —
weaves together the complex strands of the
cultural, social, spiritual, and nature.
VICTOR GAMA technical rider (own instruments)
Technical Specifications
Personnel required:
- One lighting designer/engineer;
- One sound technician;
Personnel provided:
- one sound and instruments technician;
- one video projection operator;
TECHNICAL REQUIREMENTS:
Sound :
-
three (3) short stands;
three condenser mics (Schoeps, Newman, … preferable);
Three (3) stage monitors;
Mixing console with a minimum of 24 inputs with 8 aux channels;
four (4) DI boxes;
two (2) Effects Processors, (patch configurable i.e. dual-mono in series (TC
Electronics, Lexicon, other…);
graphic equalizer
Lighting (adapatable to available equipment):
-
Control console;
6 Profiles, 3 at front of house and 3 above instruments;
12 PC (optional);
6 Par (optional);
One dimmer reserved for light inside instrument (PAR 16 or 32 required);
Video
-
appropriate video projector for the hall
screen for best possible area of projection, 16 x 9 aspect ratio, HD vídeo
Other
-
one (1) piano stool;
Reharsal and tunning
-
the artist needs to tune the Toha harp, for 30 minutes before doors open to
the public;
TECHNICAL REQUIREMENTS PROVIDED BY THE
ARTIST :
Ground Plan ;
Lighting plan;
Three (3) AKG contact condenser mics requiring phantom power;
Two (2) pedal effect processors;
Two (2) Pre-Sonus pre-amps;
GROUND PLAN
soloists: 2 violins; 2 violas; 2
cellos; timpani (4 drums)
Instrument 1
One contact mic (provided), one
condenser mic required
Par can under instrument
(required) to go through dimmer to
fade in and out
1 effx pedal (provided)
1 DI boxe required
Instrument 3
Instrument 2
Two condenser mics (required)
One contact mic (provided)
Audience
Track listing (channel number as needed):
Instrument 1 – contact mic goes to pre-amp (own) and to main desk (ch1)
From pre-amp (own) to effx pedal; from pedal to DI; to main desk (ch2);
One condenser mic (ch3)
One contact mic (provided)
effx pedal (provided)
1 DI boxe required
Single delay - 100 ms, Mix 5% on ch1
Overall short reverb depending on hall charcteristics
Dimmer reserved for light inside instrument – one par can as light attached under instrument
Instrument 2 – two condenser and one contact on three channels (ch4, ch5, ch6);
overall reverb to be adjusted depending on hall charcteristics
Instrument 3 – contact mic goes to pre-amp (own) and to main desk (ch6)
From pre-amp (own) to effx pedal; from pedal to DI; to main desk (ch7)
Overall Reverb to be adjusted depending on hall charcteristics
Specifications suggested for soloists
Sound :
-
each instrument should have a microphone;
timpani should have overhead mics;
stage monitors according to the need of musicians;
Lighting:
- to discuss with lighting designer/engineer
PLEASE NOTE THIS LISTING IS A GUIDELINE.
The tech plot is generally easily adaptable to the existing equipment.
FOR FURTHER INFORMATION, PLEASE CONTACT Victor Gama.
[email protected] or call + 351 91 270 66 12
FOR IMMEDIATE RELEASE:
February 20, 2012
Press Contacts:
Rachelle Roe
Maggie Berndt
Erin Dennis
MusicNOW EXPLORES NATURAL WORLD THROUGH
DIGITAL PRISM WITH SPECIAL GUEST VICTOR GAMA
Monday, March 5 at 7 p.m. at Harris Theater in Millennium Park
CHICAGO — The third concert in this season‟s MusicNOW series explores the natural
world through a digital prism on Monday, March 5 at 7 p.m. at Millennium Park‟s Harris
Theater for Music and Dance. Hosted and curated by CSO Mead Composers-inResidence Mason Bates and Anna Clyne, the series offers groundbreaking
compositions and collaborations; this concert features a world premiere piece from
Angolan-born composer and instrument builder Victor Gama.
Gama‟s Vela 6911—written specifically for MusicNOW—was inspired by the secret
nuclear test carried out by South Africa in Antarctica in 1979 and detected by the Vela
6911 satellite. Principal Conductor Cliff Colnot leads the piece, which fuses Gama‟s
unique, handmade instruments—the Acrux, Toha and Dino from his Pangeia
Instrumentos series—with beautiful digital projections created from Gama‟s specially
undertaken trip on a polar research ship to the Antarctic Peninsula in January 2011 to
collect sound and video to incorporate into the piece.
Also featured is Mason Bates‟ chamber work Red River, which traces the complete path
of the Colorado River from the Continental Divide in the Rocky Mountains to the river‟s
end in the Sonoran Desert. Evan Ziporyn‟s Speak, At-man!, a wandering piece for solo
flute and piano, rounds out the program.
Before the concert, music in public spaces of the Harris Theater is provided by Justin
Reed of illmeasures Chicago. The postconcert reception performance features original
electronic compositions from Dubfront Records recording artist Ryan Keesling
(Searchl1te) with accompaniment from Dominick Johnson on electric viola. The
postconcert reception also includes complimentary food and drink.
The final MusicNOW concert of this season takes place on Monday, May 14, 2012,
featuring members of the Chicago Symphony Chorus led by Chorus Director and
Conductor Duain Wolfe.
Victor Gama
Vela 6911
20
01
domingo 20Janeiro 2013
19:00h — Grande Auditório
antártida © vitor gama
músicas do mundo
Victor Gama
Vela 6911
Victor Gama acrux, toha e dino
Salomé Pais Matos toha
victor gama on toha najib nafib © dr
Rui Pinheiro maestro
Músicos da Orquestra Gulbenkian
Bin Chao 1º violino
Cecília Branco 2º violino
Bárbara Friedoff viola
Samuel Barsegian viola
Maria José Falcão violoncelo
Raquel Reis violoncelo
Vera Dias fagote
Pedro Araújo e Silva timpaneiro
Rui Peralta operação de vídeo (projeção)
Paulo Machado técnico de som
Isabel Worm iluminação
Vela 6911 é o nome do satélite norte-americano
que detetou, a 22 de Setembro de 1979, uma explosão
nuclear atmosférica próxima das ilhas Marion
e Prince Edward, na proximidade da costa
da Antártida, sob administração da África do Sul.
Esta explosão validou o programa de armas
nucleares e o poderio militar desenvolvidos
pelo regime do apartheid, sendo as ogivas
posteriormente desmanteladas no início dos anos
90 sob supervisão da ONU.
A peça Vela 6911 está ligada áquele acontecimento.
Baseia-se no diário de bordo de uma oficial da
Marinha Sul-Africana, a tenente Lindsey Rooke,
que revela um conflito entre o seu amor
duração: cerca de 1h30 / sem intervalo
pela natureza e a missão de contaminação
radioativa em que participava.
Vela 6911 teve estreia mundial em Chicago no Harris
Theater a 5 de Março de 2012, integrada no ciclo
de concertos MusicNOW da Chicago Symphony
Orchestra. A peça resultou de um convite feito
a Victor Gama para compor para um ensemble
de músicos daquela Orquestra e para os instrumentos
por si construídos, acrux, toha e dino.
Vela 6911 é uma peça multimédia com uma
componente vídeo filmada por Victor Gama
na Antártida em Janeiro de 2012, com o apoio
da Fundação Calouste Gulbenkian.
apoio à divulgação
Victor Gama nasceu em Angola, em 1960.
Músico, compositor e criador de instrumentos
contemporâneos, Victor Gama explora
a interceção entre o virtual e o físico, o digital
e o analógico, e a forma como nela se manifesta
como um novo território musical e sonoro.
No seu trabalho de permanente pesquisa,
faz uso de elementos dinâmicos e variáveis
que surgem num processo de composição
que inclui a conceção, design e construção
dos instrumentos com que a obra é executada,
dando assim origem ao instrumentário
e instalações da série Pangeia Instrumentos.
Como resultado tem vindo a atrair
encomendas por parte de ensembles
e instituições de prestígio mundial como
a Chicago Symphony Orchestra, a Kronos
Performing Arts Association, o National
Museums of Scotland, o Tenement Museum
de Nova Iorque ou a Prince Claus Fonds
da Holanda. Desenvolve desde 1997 o primeiro
arquivo digital de música e músicos
do interior de Angola, o projecto Tsikaya –
Músicos do Interior. Entre trabalhos
editados encontram-se o álbum Pangeia
Instrumentos produzido por Aphex Twin
para a Rephlex Records e Oceanites Erraticus
editado pela PangeiArt.
Salomé Pais Matos finalizou a sua formação
em harpa no Conservatório Giuseppe Verdi
de Milão em 2010. Desde então colabora
em diversos projetos a solo e com grupos
de música de câmara e orquestras como
a Orquestra Sinfónica Portuguesa,
Metropolitana de Lisboa e Gulbenkian.
Apresentou-se no Concertgebouw,
em Amesterdão, Casa da Música, no Porto,
Sala Puccini, em Milão, Teatro Nacional de São
Carlos e Centro Cultural de Belém, em Lisboa.
Rui Pinheiro foi Maestro Associado
da Orquestra Sinfónica de Bournemouth
(Reino Unido) nos dois últimos anos.
Em Portugal dirigiu a Orquestra Sinfónica
Portuguesa, a Orquestra Nacional do Porto
e a Metropolitana de Lisboa, entre outras.
Internacionalmente destacam-se concertos
com a Ópera do País de Gales e apresentações
nos BBC – PromsPlus e no Barbican, em Londres.
Após terminar os seus estudos de piano
em Portugal e na Hungria, Rui Pinheiro
concluiu o Mestrado em Direção de Orquestra
no Royal College of Music de Londres.
VELA 6911
VICTOR GAMA
CONCERTO
VELA 6911
VICTOR GAMA E ORQUESTRA
DE CÂMARA PORTUGUESA
SOB DIRECÇÃO DE PEDRO CARNEIRO
SEXTA-FEIRA 5 SETEMBRO 2014 ÀS 21h
AUDITÓRIO DO HOTEL ROYAL PLAZA; M/3
VELA 6911
UMA OBRA MULTIMÉDIA DE VICTOR GAMA
SOLISTAS DA ORQUESTRA DE CÂMARA PORTUGUESA
VICTOR GAMA ACRUX, TOHA E DINO
SALOMÉ PAIS MATOS TOHA
PEDRO CARNEIRO DIRECÇÃO
PAULO MACHADO TÉCNICO DE SOM
RUI PERALTA PROJECÇÃO VÍDEO
Vela 6911 é uma obra multimédia com uma componente video filmada por Victor Gama na Antártida
em Janeiro de 2012 e teve estreia mundial em Chicago no Harris Theater a 5 de Março de 2012,
integrada no ciclo de concertos MusicNOW da Chicago Symphony Orchestra. A peça resultou de
uma encomenda feita a Victor Gama para compôr para um ensemble de músicos daquela Orquestra
e os instrumentos por si criados acrux, toha e dino.
A peça baseia-se no diário de bordo de uma oficial do exército Sul-Africano, a tenente Lindsey
Rooke, que participou num teste nuclear atmosférico realizado secretamente em 1979 próximo da
costa do continente Antártico. O teste, detectado pelo satélite norte-americano Vela 6911, validou
o programa de armas nucleares e o poderio militar desenvolvidos pelo regime de apartheid sul
africano que desestabilizou toda a África Austral durante mais de uma década.
O diário recentemente descoberto revela alguém em conflito entre o seu amor pela natureza e a
missão em que participava, e que deixou um rasto de destruição e contaminação radioactiva numa
das zonas mais intocadas e protegidas do planeta.
“Vela 6911 é impressionante e emocionou-me profundamente.”
Ian Harwood, Produtor Executivo da CSO
“Em dois anos a dirigir estes concertos, Nunca tinha visto alguém receber uma ovação em pé no
MusicNow. A obra é extraordinária e o vídeo funcionou em perfeita sintonia.”
Mason Bates, Compositor Residente, Chicago Symphony Orchestra
“MUITO BOM TRABALHO ESTA NOITE”
Cliff Colnot, Maestro Principal, MusicNOW
Victor Gama
Compositor angolano, explora a intersecção entre o
virtual e o físico, o digital e o analógico, e a forma como
esta se manifesta como um novo território musical e
sonoro. Mestrado em organologia e música pela Sir
John Cass Faculty of Art, Architecture and Design de
Londres, o seu trabalho de permanente pesquisa faz uso
de elementos dinâmicos num processo de composição
que inclui a concepção, design e construção dos
instrumentos com que a obra é executada, dando
assim origem ao instrumentário e instalações da
série Pangeia Instrumentos. Como resultado, tem
vindo a atraír encomendas por parte de alguns dos
ensembles e instituições de prestígio mundial como
a Chicago Symphony Orchestra, a Kronos Performing
Arts Association, o National Museums of Scotland,
o Tenement Museum de Nova Iorque, o Prince Claus
Fonds da Holanda ou a Royal Opera House de Londres.
Uma das sua obras mais recentes para quarteto de
cordas e três dos seus instrumentos foi estreada pelo
Kronos Quartet no Carnegie Hall em Nova Iorque em
Março de 2010, e apresentada ao público português no
CCB em Novembro de 2010. A obra “Rio Cubango”,
encomendada pelo Amsterdam Fund for the Arts e o
Prince Claus Fonds estreou no Concertgebouw em
Amesterdão em Novembro de 2011, e a sua mais
recente encomenda 3milRIOS: prelúdio, estreou no
Palácio Real de Amesterdão em Dezembro de 2013.
Pedro Carneiro
Pedro Carneiro é cofundador, director artístico e
maestro titular da Orquestra de Câmara Portuguesa,
que dirigiu no City of London Festival, em 2010.
Considerado pela crítica internacional como um dos
mais originais músicos da atualidade, foi bolseiro da
Fundação Gulbenkian na Guildhall School (Londres),
concluiu as licenciaturas em percussão e direcção de
orquestra, com distinção. Seguiu os cursos de direcção
de Emilio Pomàrico, na Accademia Internazionale della
Musica, Milão.
Aclamado internacionalmente como um dos mais
importantes percussionistas de hoje, Carneiro
apresenta-se regularmente como solista convidado
de algumas das mais prestigiadas orquestras
internacionais: Los Angeles Philharmonic, Seattle
Symphony Orchestra, BBC National Orchestra of Wales,
Helsinki Philharmonic e Finnish Radio Symphony
Orchestra, Iceland Symphony Orchestra, English
Chamber Orchestra, Vienna Chamber Orchestra,
Orquestra Sinfônica do Estado de São Paulo, Leipzig
Radio Symphony Orchestra. Swedish Chamber
Orchestra – sob a direção de maestros como Gustavo
Dudamel, Oliver Knussen, John Neschling, Christian
Lindberg, entre muitos outros.
Orquestra de Câmara Por tuguesa
A Orquestra de Câmara Portuguesa (OCP) foi fundada
em 5 de Julho de 2007 por Pedro Carneiro, Teresa
Simas, José Augusto Carneiro e Alexandre Dias. A
visão impulsionadora do compositor e maestro Pedro
Carneiro é a garantia da excelência e credibilidade
artísticas da Orquestra de Câmara Portuguesa. A
OCP nasceu com o objetivo de criar um ensemble de
excelência que funcione como plataforma de lançamento
de novos intérpretes, e promova a sua integração no
mercado de trabalho internacional da música. Desde
a sua fundação, a OCP tem vindo a criar uma janela
de oportunidade inovadora por vir responder à procura
da afirmação artística e profissional da mais recente
geração de músicos nacionais e estrangeiros residentes
em Portugal.
A estreia absoluta da OCP no dia 13 de setembro de
2007, no Grande Auditório do Centro Cultural de
Belém, resultou da resposta ao desafio lançado pelo
então presidente do Conselho de Administração, Dr.
António Mega Ferreira, em realizar o concerto inaugural
da Temporada 2007/2008 do CCB. Desde então, a
OCP atingiu um elevado e consistente patamar de
performance artística, confirmado pelo público e pela
crítica.
Em 2010, com pouco mais de 2 anos de existência, a
OCP foi convidada para abrir o City Festival of London
de 2010. A crítica do The Times atribuiu 4 estrelas,
coroando esta auspiciosa internacionalização da
melhor maneira - “O 2º Concerto para Piano de Chopin
por Cristina Ortiz e a Orquestra de Câmara Portuguesa,
aqui ouvido cheio de carácter (…) assim como a 1ª
Sinfonia de Beethoven, proporcionando uma viagem
de montanha-russa a transbordar de adrenalina, sob a
direcção resplandescente de Pedro Carneiro”
[VICTOR GAMA ]
PRESS
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VICTOR GAMA – PANGEIA INSTRUMENTOS
PRESS KIT
KRONOS QUARTET e VICTOR GAMA
CENTRO CULTURAL DE BELÉM | 21 DE NOVEMBRO, 21H
Créditos: Richard Termine
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DESCONTOS HABITUAIS (para bilhetes adquiridos no CCB)
Desconto de 25% para menores de 25 anos e maiores de 65
5€ – estudantes e profissionais de espectáculos (n.º limitado de bilhetes)
Desconto de 20% para grupos de 10 a 50 pessoas