With the presentation of Fito Conesa and the performance of the soprano Claudia Schneider.
‘Anoxia. A constant prelude’ (2023, 25′) is an opera in three movements that proposes different approaches to the current problems of the Mediterranean Sea. On the one hand, it brings us closer to ecosystemic degeneration and imminent ecocide; for another, he draws us the network of toll roads that the big cruise ships trace over the Posidonias; finally, it is also a song that interpellates the viewer and brings them closer to a present situation of already known but poorly managed consequences.
In ‘Sinfonía para Rouyn-Noranda’ (2022, 12’34”) Fito Conesa films and composes in this industrial city in northern Quebec where during the years of copper and gold mining in the 1920s he to become the administrative capital of that region exploited by mining, exploited by colonization and ignorant of indigenous rights and knowledge. Conesa wonders what it would take in some places to start a new beginning, to erase the actions of the past and to invent new habits capable of the resurgence of a new joy.
In ‘Helicón’ (2019, 10′) Conesa convened a small band of wind and metal instruments in the Serra Minera de Cartagena. Taking advantage of the lake created over the years by the waste from mining activities and its apocalyptic aspect – an area of polluting oxides and at the same time of great beauty -, he places seven musicians of various ages there and asks them to interpret a melody to see if the earth responds and thus begins the end of the world (and with it, renewal).
