YUVAL AVITAL. biography. selected press. selected works

Transkrypt

1 YUVAL AVITAL biography selected press selected works

2 Y U V A L A V I T A L "...amazing...an experience to tell your grandchildren one day..." (Il Fatto Quotidiano daily, Italy) "The most surreal event of the year" (Vanity Fair magazine) "...a volcanic talent..." (RAI3TV national news broadcast) "...fascinating...overwhelming expressive force..." (Insound magazine) Composer, multimedia artist and guitarist Yuval Avital is considered as one of Italy's major talents in the contemporary and experimental music scene. Born in Jerusalem1977, living in Milan, his works spread from huge sonic events for numerous performers to demanding orchestral and chamber compositions, from Icon/sonic operas which include classical performers, multi media together with traditional carriers of ancient cultures, to highly technological projects, involving scientists, artificial intelligence and live sonic elaborations. His art expand to sound installations, video and performance, also in collaboration with some the greatest artists, performers, directors and designers of our time. Among his works outstands ALMA MATER - a 1200 sqm icon-sonic installation for 140 loudspeakers, legendary étoile of La Scala, visuals and lace makers (Milan 2015), REKA for 6 traditional singers, 2 percussions and a crowd of hundreds of voices (Warsaw Autumn 2014), KARAGATAN for 100 traditional gong & bamboo musicians and 2 conductors (Philippines 2013), OTOT icon-sonic symphony (opening of the symphonic season of Theater of Como, Italy) UNFOLDING SPACE, created in collaboration with NASA & ESA scientists (Italy 2012), GARON for 45 tubas, 6 percussions, 3 conductors, choir & live electronics (closing event of Dirty Corner by Anish Kapoor, Milan, Italy 2012), 4 operas commissioned by leading Italian festivals (KOLOT 2008, SAMARITANI 2010, LEILIT 2011, NOISE FOR SYD 2013), numerous chamber music compositions and multimedia works performed by leading soloists and ensembles. His works were presented in many festivals such as Warsaw Autumn (Poland), RomaEuropa, Mito SettembreMusica (Italy), Tunog-Tugan (Philippines), 360 (Germany), the Jerusalem Multimedia Fesitval (Israel), Miami Art Basel (USA), Central-Asia contemporary music days (Kazakhstan). In 2007 he trasformed the entire Ostienze train station to a multimedia installation during the Notte Bianca di Roma, Italy. Yuval is also a highly acclaimed guitar player, performing both classic & electric guitars. Graduated in the Jerusalem music Academy and later studying with M Angelo Gilardino, former president of the Andreas Segovia foundation, Avital had performed worldwide in venues such as the National Conservatory of China, Beijing, Centre Pompidou Paris, Palazzo Reale & Teatro Nuovo Milan, Quinta da Regaleira Palace, Portugal. He had performed numerous world premieres for solo guitar, many of them written and dedicated to him. Since 2007 he been dedicate his concerts to perform only his own original music and for chosen collaborations. His works and concerts were broadcasted in SKY CLASSICA TV (which had dedicated to him a documentary film), CCTV China, Radio 3 suite (Italy), Kol Ha Musica (Israel), WQXR & Classical Guitar live (USA) among others. Yuval Avital is the founder of Magà Global Arts performing arts factory.

3 Selected Press Yuval Avital is a unique musician who is constantly pushing the aesthetic boundaries, mixing with elegance the guitar, his favourite instrument, with traditional cultures, contemporary music and new technologies. His credo, which is fundamentally devoted to exploration of new forms of performance has given birth to symphonies, operas and hybrid forms that dialogue with the codes. (Bruno Letort, Des aventures sonores France Musique, Radio France, 24 February 2015) In times of borders and walls, of useless nationalist pride and separations, arrives a huge artificial forest in which the women of East-Timor meet the lace makers of Brianza, old Albanian women touch the voices and sounds of Okinawa, and instead of reasoning through exclusion, it is preferable to speak of inclusion. This, and a lot more, is ALMA MATER, and imposing and ambitious installation, presented in the Cattedrale venue of La Fabbrica del Vapore in Milan by Yuval Avital, indefinable and undefinable personality (Tutto Milano Magazine cover, La Repubblica, Italy 02 July 2015)

4 A must-see art installation (Harper s Bazzar Kazakhstan and Russia, July 2015)

5 The must-see multimedia project by artist and composer Yuval Avital ends today at the huge Cathedral of Fabbrica del Vapore (Where Milan - Hot dates highlight) (...) a poetic installation full with emotions (...) It is difficult to tell what strikes you more in this technolgical anthropological forest (La Stampa daily, Italy, 22 August 2015)

6 When there is in the middle Yuval Avital, the great composer who creates massive sonic works, it is better to whiteness the work rather than to hear about them or describe them (...) a must-see, even more than once (Rolling Stone magazine, Italy, July 2015) A work of strong sensory impact, an allegorical scene of 1200 square meters, halfway between installation and performance, a an extraordinary dialogue between creative excellence: from the icon-sonic universe of Avital to the artistic symbol by Pistoletto, from the graceful movements of the legendary étoile of Teatro alla Scala to the wise gesture of the lacemakers of Cantú, from site-specific light installation created by Enzo Catellani, to the visionary loudspeakers made by Architettura Sonora. Strong identities are harmonised into a single artistic vision inspired by the archetype of the motherhood, offering visitors an intense poetic journey. (Artezblai magazine, Spain, July 2015) A magnificent installation (...) Il Terzo Paradiso by Michelangelo Pistoletto meets one of Avital s multimedia creations which redefines the space into a synthetic, highly allegorical and poetic tribute to Motherhood in all its inclinations. (SKY Arte magazine, Italy, July 2015)

7 In the Cathedral" you enter through a dark curtain, in front of which it seems to wait several minutes (but it does not seem out of place, even if there was a shelf where you could leave your shoes, and go barefoot). Yuval, a director of a mystery ritual, a conductor who gives the attack or a master of the stage, gave a recollection which differs the curtain from the inside. The space is immense. Invests those who enter with the exciting effect of a mysterious timeless place: the palaeolithic cave of Lascaux in a technological change, or the sacred place of the people of the water tribe in a prequel of Star Wars, dug by their ancestors in the bowels of the earth. In fact, in the shadow floating in midair flat meteorites golden light sensors and vibrating voices, chants and songs puffs female. Fragments in incomprehensible languages scratched sounds, thunder, impressive explosions moving and fluttering near and far. high light clusters mixed with amplification cones, round spheres of clay and marble cylinders arranged at intervals around - petrified flower beds, metaphysical - the sinuous but defined a central symbol drawn in the ground alive, as a magnet has the power to replace archaic, harmonizing it in a kind of multidimensional perspective (sound, material, light, aesthetic, interior) in this visionary and exciting composition(...) Alma Mater, the Steam Factory in Milan until 29 August, seems to mark something of a turning point, a maturing in the artistic Yuval Avital, often engaged in what he calls Massive sonic works, or we could call immersive music(...)alma Mater is for now the largest sound installation made in Italy(...)And the strength of Avital seems to not limit itself to the autobiography but to create sound boxes, links, amplifications. (Amadeus Magazine, Italy August 2015)

8 (Artribune magazine, interview, Italy, July 2015) :) Playboy magazine Italy, July 2015

9 Milanice magazine, Italy July 2015 Gioia magazine, Italy June 2015 (general interview)

10 The sonic people of Yuval Avital(...)a visionary work commissioned by the prestigious Warsaw Autumn Festival...

11 "REKA mean in Hebrew background. The work deals with roots, cultural background, but also the aesthetic background and its possibility to be recreated with voices. This composition is a commission of the Warsaw Autumn that uses an organic of masters of traditional singing and a vocal crowd of non-musicians. Yuval Avital, its author, Israeli living in Milan, very often goes back to the traditional cultures ( ) in REKA there are rare moments of true solos - most of the time the traditions sing together, voices overlap - because this work is not about presentation of ethnic or exotic shows, but - following the score of Avital - a presentation of a meta-culture. The voice is is transformed into an instrument, transforming itself in many different contexts. (Tadeusz Wielecki, Director of Warsaw Autumn Festival in an interview).

12 A symphony created with music and singing. But also with cries, whispers, mutterings. With whistles, breaths, voices that mimic the sound of wind and ocean. Here is a clear and original example of massive opera : REKA, composed by Yuval Avital, a genuine event of a potentially planetary proportions that can include whomever wishes to participate in the piece ( )REKA is a collective transcultural ritual of Avital in which various layers of sound blossom and disappear constantly ( ). This opera is an important evolution of his large-scale sonic works and crowd music

13 an important provocation to the ones that still divide and separate music from an Euro-centric prospective, created with the crowd/choir and the sounds/voices of the REKA soloists, using a poly-vocal counterpoint of great emotion and strength Yuval Avital is well known for his capacity of creating large scale challenging complex cultural projects. REKA establish a new decisive chapter in this chain of works

14 Once again, we met up with musicians from various cultures in the world, which are not always so distant (Sardinia, Siberia), but are foreign - in the sense in which the alien is a language which can not be use, and sometimes do not even know of its existence. In addition to the masters of distant musical traditions, on the stage were two percussionists and a Vocal Crowd - a choir of dozens of singers, not necessarily with musical background, most of them amateurs of all sexes and ages. The crowd part was diffused through the internet and with few attempts you could perform the graphical and textual elements of the score, which included among other things, various imitations of nature sounds, phonemes, prenatal language (from what I understand, it's about sounds made by children at the earliest stage of development, which to describe the perceived world rely on measures that are not yet any language). So - things very ancient, primitive, or even the Old Ones, typically associated with a natural state, sometimes before the exile of the first man from Paradise (at the end of this concept, as demonstrated by the comparative study of religions, is repeated in almost every culture). What came out of that? It's a pretty tough question to keep any objectivity, you probably respond to several, often conflicting, levels. ( ) I could not find a large structural form in this piece. Perhaps it is the problem of contact with something new, unknown, but it is likely that this work seems like a large Chaotic song, which was conceived as a collective mystery. In my opinion, The work of Avital should be discussed as a political and cultural rather than in musical terms ( ) No concert at this year s festival had enjoyed such a successes from the part of the public. A dozen meters line of public waiting to enter the sold out concert, wishing to witness the transcultural meeting. In the end of the concert the Audience rewarded the performers with a long standing ovation. Transkulturowa środa 23 września / Filip Lech Reka'' w Koneserze, fot. Grzegorz Mart / Warszawska Jesień Oprócz mistrzów odległych od siebie tradycji muzycznych, na scenie znajdowało się dwóch perkusistów i i kierowany przez Antoniego Beksiaka Chór Niemuzyków, czyli grupy kilkudziesięciu śpiewaków, niekoniecznie wykształconych, w większości amatorów wszystkich płci i w różnym wieku. Niemuzycy zostali zwołani przez internet i podczas kilku prób przećwiczyli partyturę graficzno-tekstową, w której znalazły się między innymi wskazówki dotyczące imitacji przeróżnych dźwięków natury, fonemów, głosek przedjęzykowych (z tego, co rozumiem, chodzi o odgłosy wydawane przez dzieci w najwcześniejszym stadium rozwoju, które do opisu postrzeganego świata wykorzystują środki, które nie są jeszcze żadnym językiem). Czyli - rzeczy bardzo dawnych, pierwotnych, albo nawet przedwiecznych, kojarzących się ze stanem naturalnym, czasami sprzed wygnania pierwszego człowieka z Raju (w końcu ta koncepcja, co pokazały porównawcze studia nad religiami, powtarza się w niemal każdej kulturze). Co z tego wyniknęło? To całkiem trudne pytanie, żeby zachować jakąkolwiek obiektywność, trzeba chyba odpowiadać na kilku, często wykluczających się, poziomach. Najpierw oddajmy głos kompozytorowi, a właściwie Nicoli Scaldaferri, która objaśnia koncepcję izraelskiego kompozytora Yuvala Avitala w książce programowej: ''Twórcze spotkanie głosów, tradycji, form oraz muzycznych umiejętności (...) ''REKA'' (hebr. ''tło''), ogromnego fresku muzycznego złożonego z szeptów, krzyków, śpiewów i modlitw (...) Jest to dźwiękowy portret dwu głównych elementów muzyki, sztuki i kultury. Pierwszy to głos ludzki - najważniejsze i najstarsze narzędzie dźwiękowe. Wyraża ono zarówno jednostkowość, jak i zbiorowość, jest ekspresją tożsamości tradycyjnych kultur lokalnych oraz indywidualnych idiomów twórczych (...) Drugim elementem jest percepcyjna, estetyczna i strukturalna komplementarność bohatera i tła, określoności i nieokreśloności, indywidualności i zbiorowości''. Teraz spojrzenie Lamy Samtena Yeshe Rinpoche'a, wynikające z pracy nad utworem, dalej za Scaldaferri: ''Lama zaakceptował modyfikacje pewnych śpiewów i rytuałów oraz wprowadzenie do utworu nowatorskich elementów, ponieważ uznał, że powstające dzieło niesie istotne przesłanie dialogu i pokoju. Zgodził się także zaśpiewać popularną piosenkę tybetańską dedykowaną matkom (której kapłan, zwłaszcza jego rangi, nigdy nie wykonuje), bo archetyp macierzyństwa w tradycji Bön odgrywa ważną rolę jako klucz do idei współczucia''. Sainkho Namtchylak, Sofia Kaikov, Enkhjargal Dandarvaanchig i Omar Bandiu / fot. Grzegorz Mart / Warszawska Jesień W dawnej fabryce wódek Koneser Po raz kolejny spotkaliśmy się z muzykami z przeróżnych kultur świata, które nie zawsze są tak bardzo odległe (Sardynia, Syberia), ale są obce w tym sensie, w jakim obcy jest język, którym nie potrafimy się posługiwać, a czasami nawet nie wiemy o jego istnieniu. Większość z muzyków, których mogliśmy usłyszeć w utworze ''REKA'' (2014) Yuvala Avitala mieszka bardzo blisko nas: Enkhjargal Dandarvaanchig z Mongolii od 1993 roku mieszka w Europie, obecnie w Niemczech; Sofia Kaikov, która kontynuuje pieśniarską tradycję perskich Żydów z Buchary, mieszka w Tel Awiwie; Yusuf Joe Legwabe pochodzący z szamańskiej rodziny Zulusów urodził się w ciężkich czasach apartheidu w Soweto, dzisiaj mieszka w Wielkiej Brytanii; Sainkho Namtchylak, spadkobierczyni tuwińskiego śpiewu gardłowego chöömej, którym wzbogaciła także awangardę jazzową i muzykę elektroniczną, po rozpadzie ZSRR zamieszkała w Wiedniu; Lama Samten Yeshe Rinpoche urodzony we wschodnim Tybecie naucza dzisiaj medytacje Dzongchen i jogi we Francji. Najbliżej mieszka śpiewak bassu Omar Bandinu, z sardyńskiej tradycji canto a tenores, czyli sięgającej 3 tysięcy lat wstecz techniki wokalnej. Lama Samtena Yeshe Rinpoche / fot. Grzegorz Mart / Warszawska Jesień Czyli nad ideą transkulturowości pochylił się nie tylko kilkudziesięcioosobowy chór, kompozytor, tradycyjni śpiewacy, ale i będący muzykiem kapłan oficjalny przedstawiciel religii, której korzenie sięgają 18 wieków przed ''naszą'' erą. Teraz niech wypowiedzą się niemuzycy: ''Festiwal WJ zawsze był wydarzeniem głęboko elitarnym, budzącym moją wielką ciekawość i pełen szacunku respekt pisze na swoim blogu Jacek Olechowski, jeden z członków tłumu-chóru Wręcz onieśmielały związane z nim wielkie nazwiska Krzysztofa Pendereckiego, Johna Cage a czy Witolda Lutosławskiego i Henryka Mikołaja Góreckiego. Czułem (i czuję) w muzyce współczesnej niezwykłą formę opisu świata, pozwalającą na odrzucenie schematów, reguł stylistycznych, ograniczeń gatunkowych. Wymagającą absolutnej otwartości twórców, wykonawców i słuchaczy. Wymagającą całkowitego podporządkowania się dźwiękom, przekraczania granic wyobraźni. Słuchania sobą. Byciem w muzyce (...) Chłonąłem każdą chwilę, każdą nutkę, każdy dźwięk, dzielnie starając się spełnić swoją rolę w chórze nie-muzyków wg partytury w obrazkowy sposób prowadzącej przez zadania i polecenia (...) W swoim życiu stałem na chyba wszystkich mniejszych i największych scenach w Polsce. Czy to amfiteatru opolskiego, czy sopockiej Opery Leśnej, poznańskiej Areny, warszawskiej Filharmonii. Jednak po raz pierwszy w życiu odczułem właśnie tutaj na Pradze wręcz fizyczny gorset emocji: oczekiwania, odpowiedzialności, niepokoju i ciekawości. Z pierwszymi taktami muzyki prysnęły obawy, strach, trema. Chwila, tu i teraz Jestem wykonawcą i słuchaczem. Absolutnie oddaje się dźwiękom. Jestem w samym środku MUZYKI!''. Co mógł spostrzec słuchacz, na potrzeby bloga zegzemplifikowany w mojej osobie? Przede wszystkim brak jakiegokolwiek zrozumienia dla tej wielkiej formy, w której nie potrafiłem się odnaleźć. Być może to problem kontaktu z czymś nowym, nieznanym, ale istnieje prawdopodobieństwo, że to kwestia (zamierzonej?) chaotyczności utworu, który był pomyślany jako kolektywne misterium. Z wielką przyjemnością słuchałem śpiewu mistrzów z różnych stron świata (szczególnie Sofii Kaikovy), ale nie z powodu tego, że reprezentowali dawne tradycje i nie z powodu poczucia międzykulturowego dialogu. Po prostu śpiewali pięknie, chociaż trochę zagłuszały ich hałaśliwe perkusje, których rolę rozumiem ''na papierze'', ale nie mogłem tego usłyszeć. Szum tłumu niemuzyków był bardziej słyszalny tylko momentami i stanowił przyjemne tło. Tak samo nie poczułem złamania konwenansów przez tybetańskiego lamę. I równocześnie nie mam żadnej potrzeby krytykować tego utworu w kategoriach muzycznych, albo korzystać z nierozumiałego dla mnie przywileju wygwizdania i wybuczenia, niekiedy stosowanego przez filharmonijną publiczność. O utworze Avitala powinno się raczej dyskutować w kategoriach politycznych i kulturowych (przyczynkiem do dyskusji może być wydana kilka lat temu po polsku książka ''Etno'' profesora Colovicia). Wielu słuchaczy, właściwie większość sali, miała zupełnie odmienną opinię ode mnie. Żaden koncert w ramach tegorocznego festiwalu nie cieszył się taką popularnością: długi na kilkanaście metrów wężyk ludzi nie wszedł na sale, nawet ludzie z kupionymi wcześniej biletami mieli niemały problem, żeby zmieścić się w sali Konesera, wypełnionej przez publiczność pragnącej transkulturowego spotkania. Tłum wykonawców został nagrodzony kilkuminutowymi brawami na stojąco.

15 One of the most anticipated events of the music festival MITO: Reka, a contemporary work of the young Israeli composer Yuval Avital, a brilliant and mad happening, yet extremely rigorous, where sounds of distant and different countries and traditions intertwine ( ) The numerous public (all sold-out) had breathed with the vocal crowd and the soloists as one. A very beautiful experience both for the performers as for the spectators

16 Various journals (UK, USA, Russia, Brazil. Italy) Noise for Syd premiere, November 2013

17 (...) a multi-faced composer with a taste for true experimentation (...) a volcano that erupts once again (Corriere musicale journal, Italy, 12 November 2013)

18 (...) this is a global music concert, an universal language that everybody will understand and love(...) (La Repubblica daily, Italy 21 February 2013)

19 Arriving the most surreal show of the year: OTOT by Yuval Avital (Vanity Fair Magazine, Italy January 2013)

20 Yuval Avital is a fascinating musician that succeeds in transmitting his passion with a disarming transparency (Il Corriere della Sera daily, Italy 22 January 2013)

21 (...)an ambitious project which unites personalities of undoubted scientific and artistic value (InSound Magazine, Italy January 2013, interview regarding Unfolding Space) INS UND O

22 Cosmic energies, pulses of stars, electromagnetic radiations become a choir and through the music renders the perception of the Deep Space (...) the energy becomes music, the scientific and cosmic materials become sound. (Style Magazine, Italy October 2012)

23 ABITARE Magazine, 25 January 2012

24 Domus Magazine, January 2012 <<...a talent of the international contemporary music scene...>>

25 (...)Yuval Avital (...) visionary talent that blends ancient ethnic sounds to multimedia and contemporary research (La Repubblica daily, Italy 03 March 2011)

26 KOLOT is not only an opera that can be defined as art, but also a complete cultural event (...) The composer s wish of provocking a reflection about the beauty and richness that resides in diversity is fulfilled. (Sound & Lite Magazine, Italy January/February 2010)

27 ...felt like a return to the primordial, formless void of the Book of Genesis [...] this is the sound of Kolot, a true opera that unites cultural worlds. (Haaretz daily, Israel 22 October 2008)

28 the performance-concert of Yuval & Wisam [...] donated quite a rare experience to the audience [...] in a nested and vivid dialogue, they explore the entire range of possibilities offered by their instrument [...] the audience answered the musicians with long and well-deserved applauses... (Amadeus, Italy 23 July 2012)

29 Breaking cultural and political barriers through the universal language of art (La Stampa daily, Italy 4 December 2010)

30 YUVAL AVITAL Composer, guitar player and multimedia artist Yuval Avital is considered as one of Italy's major talents in the contemporary and experimental music scene. Born in Jerusalem 1977, living in Milan, his works includes large-scale sonic works for numerous performers, demanding symphonies, chamber and soloist compositions, Icon/sonic operas which include classical performers, multi media and traditional carriers of ancient cultures, highly technological projects - involving scientists, artificial intelligence and live sonic elaborations. His concerts and creations were presented in major festivals and art centers in Europe, the Middle-East, Central & South-East Asia and North America. CHOSEN PERFORMED WORKS: Fields installation for tape. Premiere: I Maestri del Paesaggio, Piazza Vecchia & Giardino Tresoldi, Bergamo, Italy September Alma Mater Icon/sonic installation for a forest of 140 loudspeakers, legendary etoiles of Teatro Alla Scala e lacemakers, in dialogue with Il Terzo Paradiso by Michelangelo Pistoletto. Premiere: Fabbirca del Vapore, Milan, July-August Horizon & Siren for alto sax & viola Premiere: Cantiere Internazionale d'arte, Montepulciano, Italy July 2015 Kanaf. for bass clarinet, tape, video & live electronics Premiere: ClarinetFest, Conde Duque Cultural Center, Madrid, Spain July SILENT QUARTET Icon/sonic work for string quartet, video, soundtrack & live electronics. Premiere: Est-Ovest Festival, Turin & Genoa, Italy, October 2015, performing Xenia Ensemble (Commissioned by Festival). REKA Massive sonic work for six traditional singers, two percussions and a crowd of hundreds of voices. Premiere: MiTo SettembreMusica, Milan, Italy and Warsaw Autumn Festival, Poland, September Commissioned by Warsaw Autumn Festival. MUSIC FOR SEVEN N 3 For 7 contrabass tubas; Premiere 4 Italian Low Brass Festival, Segrate, April NOISE FOR SYD Icon/sonic tribute to Syd Barrett. Premiere Festival Aperto, Reggio Emilia, Italy, November UTOPIE N.1 "Rayol" For percussions, tape & video. Premiere Conservatorio G. Verdi, Milan, Italy, September LA TUA ARPA, VUOTA For guitar and narrator, texts from Dos lid funem oysgehargetn yidishn folk by Yitzhak Katzenelson. Premiere Auditorium di Rivoli, Italy, February KARAGATAN Massive sonic composition for 100 traditional performers of gong & metal percussions. Premiere closing event of Tunog- Tugan 1st International Gong & Bamboo Festival, Dipolog city, Philippines. February OTOT Symphony for chamber orchestra, 5 percussions, 3 accordions, video & live electronics. Premiere Teatro Sociale di Como, Italy, January SPACE UNFOLDED Sonic installation concert for 8 speakers, 40 tapes & artificial intelligence system. UNFOLDING SPACE Concerto for electric & classic guitar, live electronics, video and sonic translations of the cosmic space. In collaboration with NASA & ESA scientists. Premiere BergamoScienza, Italy, October YUVAL & WISAM DUO : Yuval Avital guitars & live electronics, Wisam Gibran - Oud and violin. Museo del '900, Milan, Italy, July 2012 (many other concerts in Israel & Italy between ). GARON Massive sonic work for 45 tubas, 6 percussions, choir, vocal soloists & live electronics. Premiere Anish Kapoor, closing event at La Fabbrica del Vapore, Milan, Italy, January MUSIC FOR SEVEN N 1 For 7 tenor recorders; MUSIC FOR SEVEN N 6 For 7 accordions, PIANO SONATA Premieres at Romaeuropa Festival, Rome, Italy, October LEILIT icon/sonic opera For a recorders consort, an accordion consort, piano, improvising soloist using live electronics, two keis cantors & video. Premiere Romaeuropa Festival, Rome, Italy, October DIMDUM For bass flute. Premiere Como, Italy, April MISE EN ABIME For a crowd of 100 persons, 34 accordions, soloists & 4 conductors. Premiered RAI studios, Milan, Italy, February 2011.

31 CORPO Installation for two dancers & live electronics. Fondazione A. Pomodoro, Milan Italy. September SAMARITANI icon/sonic opera for a Samaritan choir, ensemble, narrator, video & live electronics. Premiere MiTo SettembreMusica Festival, Milan, Italy, September LEFKARA MOIRAI For 4 musicians, 2 singers, video, actor, craftsmen & live electronics. Premiere Lefkara Festival, Cyprus, August TRIALOGO FESTIVAL (2006, 2007, 2009) Creation, performance & artistic director. 25 concerts involving 50 artists, performers & musicians from all around the world. Main location : Fondazione Pistoletto, concerts and tours in various cities in Italy, KOLOT Icon/sonic opera for 12 traditional singers, mixed ensemble, video & live electronics. Premiere in various theaters, Italy, October ROMAN GAMES Game score for infinite amount of musicians. Premiere La Sapienza University, Rome, Italy, July MASÀ For Tape & two performers. Conservatorio G. Verdi, Milan, Italy. July CAVE CANEM Music for 12 dancers/vocalists, guitar & electronics (coreographers Avi Kaiser & Sergio Antonino). Premiere Duisburg, Bielefeld, Modena, Germany/ Italy, May 2007 March ENVIRONEMENTS EXPLORATION solo performance. Premiere Miami Art Basel, Casa Fendi, Miami, USA, December BDIDUT FOR SCORDATURA GUIRAR premiere. Toronto Performing Arts Center, George Washington hall, Canada, October, SOUND/ VISUALS TRANSFORMATION OF OSTIENSE TRAIN STATION. Special production for La Notte Bianca di Roma. September PACKMAN VS. ESCHER V.2 for 10 dancers, musicians, craftsmen & painters. Premiere at Biarteca festival, Biella, Italy, August THREE PLUCKED STRING Classical guitar Yuval Avital; mandolin Avi Avital; harpsichord Yizhar Karshon. Concerts & tours in Israel, Philippines, Germany, Holland, Switzerland SOLO RECITALS in Portugal, Germany, Denmark, Italy, China, Philippines, Kazakhstan, Canada & USA MAGÀ for four israeli & palestinian musicians & video. Premiere Palazzo Reale, Milan, December SLOW HORIZONS for 12 Kazakh nomad musicians, storyteller, dancers, video & Guitar. Premiere Almaty, Kazakhstan, May PERFORMANCE WITH HALIM EL-DABH, ADAMAELARD. Premiere Beijing Central Conservatory, China, STUDIES: The Jerusalem Contemporary music Center (Jazz & improvisation ) Jerusalem Music Academy (Classical guitar, ) Angelo Gilardino Soloists class, Vercelli, Italy (Classical guitar, ). Conservatorio G. Verdi, Milan, Italy (Electronic music & composition, ).

32 Y U V A L A V I T A L WEB : CONTACTS : info@yuvalavital.com info@magaglobalarts.com