Composer Patricia Martínez on sexism in Argentina, the visual power of performance, and surviving the production of an opera.
Patricia Martinez (1973) is an active Argentinian/Spanish composer, interdisciplinary artist and performer, based in Buenos Aires. Her works has emerged, in part, from an experimental process of 'stripping-down,' which involves a degree of risk-taking, in that the resulting music is left somewhat vulnerable in terms of its expressive identity. Her creative and research interests are focused on new music composition and interdisciplinary projects, specially contemporary music theatre, new opera, extended music composition & performance, a sensible use of technology (electroacoustic and video art), improvisation, and choreography-composition.
Recently highlights include the premiere of interdisciplinary diptych Short sleep (Breve sueño), commissioned and produced at the Experimental Center of Colón Theater (CETC, Arg.) with four sold out performances and successful press reviews; the premier of Beyond at the Place of Fine Arts (México DF) by Iber-dance/Music; The frozen little girl (La niña helada), a chamber opera commissioned and premiered during the 48th Ferienkurse für Neue Musik Darmstadt, that was selected to be fully produced at the Recoleta Cultural Center in the 2017 season with ten sold out performances and selected at the International New Opera Festival of Buenos Aires (FNOBA); and Espacio ausente, for 14 speakers, lights and voice, commissioned by Cervantes National Theatre (AR, 2018).
Patricia is currently a professor of Composition at National University of Quilmes (UNQ); at the Superior Conservatory of Music from Buenos Aires City Astor Piazzolla (CSMCBA) and external tutor at the Doctoral program in music composition at the National Autonomous University of Mexico (UNAM). She holds a Doctoral and a Master degree in Music Composition from Stanford University, where Brian Ferneyhough was her advisor. She studied at the Municipal Conservatory of BA, National University of Quilmes and completing the Annual Course in Computer Music (IRCAM). She taught composition at Stanford University; National Conservatory of Lima, University of Costa Rica, UNQ, FNA.
Tan Feliz (So Happy) is excerpted at 00:38 and again at 22:11. Contratenor: Martin Oro. Claudio Espector, piano; Sergio Polizzi, violín; Carlos Nozzi, cello; Fabio Mazzitelli, flute; Daniel Kovacich, clarinet; Arauco Yepes, percussion, Alicia Terzian, conductor.
como si el cuerpo se deslizara en un delicado continuo sordo, pleno, movimiento sin acto: simple belleza de soltar * as if the body slipped into a delicate continuous deaf, full, movement without act: simple beauty of letting go
La niña helada - reel begins at 08:18. Libretto: Mariano Saba. Singers: Aki Hashimoto, Susan Lee, David Pichlmaier, Isabelle Rejall, Katja Stuber.
A state of divinity begins at 11:48. Performed by RETRO DISCO: Samuel Stoll, horn; Moritz Müllenbach, cello; Simone Keller, synth.
C’est l’amour begins at 14:41. Pieter-Jan Vercammen, electric guitar. ￼ Commissioned by the Electric Guitar Etude Project, which is curated by Yaron Deutsch.
Barely the breath begins at 16:55. Commissioned by Weaving Music For Radio / UNESCO. Débora Bérgamo, voice; Vinicius Portes, percussion; Dhiego Lima, violin; Sergio Albach, clarinet; Shante Antunes, cello; Ricardo Ross, cabral flute; André Bertoncini, piano.