|
Di seguito tutti gli interventi pubblicati sul sito, in ordine cronologico.
Fabrizia Barresi would like to thank: Mark, Rusty, Keith, Ira and Carlos, for their great artistry, fantastic skills, and warm friendship; Patty and Jerry Coker, for their precious teachings, support, love and trust; Allen Smith for his complete dedication to this project, his perfect engineering skills and wise advices, the cheers, the goose bumps, and for the special creative atmosphere he keeps in his peaceful studio; Seva, for the incredible mastering sound, and Bob Wade, for having immediately gotten who I am, and pictured it; Betsy Wheeler for her sunny house, her smiles, her morning coffee, and her well tuned grand piano; the Langou family for the wonderful European meals we shared, and their great help in everything; my students and friends, Christian, Loretta, Lorenzo and Betta: without you my work would have had no sense; Ella, Billie and Sarah, for having haunted my teenager’s voice dreams; Miles, Trane and Bird for making me yearning for an instrumental sound; Juan Miró, Jacques Prévert and Pablo Picasso, for being around in my lyrics, Antibes (France) and “ La Joie de Vivre” as well; my brother Luca for his great support and for organizing my trips all over the world; my father who made me sing and swing, and my mother who taught me how to write stories; my aunts Louise and Clara, who gave me the power to realize my dreams; Reine-Aimée Marcos, for her African, deep earthy wisdom; Alberto Tedeschi and prof. Emilio del Giudice, for their scientific research and discoveries; Sophie Commerman and Bruno Duquennoy, for taking good care of me; all those I’m thinking of, and not forgetting, just don’t have enough room here to tell you how grateful and happy I am to have had you with me in my life; the amazing Grace of the Lord, who called me to sing in His service so far away from my homeland.
Fabrizia epitomizes the definition of the ultimate artist: the musician achieves true artistry when he or she becomes one with the spirit of the music being performed. This, Fabrizia unfailingly achieves. She has an innate taste for what is beautiful and witty in jazz music, both intellectually and in her tender heart.
We met when she was in serious search for information that would deepen her understanding of the music she loves, and she applies information, as assimilated, effortlessly into her improvisation. Always the student, she then seeks to pass on ways to apply the information to her own students at the Fondazione Siena Jazz, in Siena, Italy.
No rote application for Fabrizia, as you will discover in this remarkable CD! Its a joy to open up the ears for a treat of vocal versatility, sheer spontaneity, playfulness, and pathos, over a wide range of material, vocal and instrumental in intent and origin. Amazing Grace is a fitting signature for the offering here, simply sung with Ira Sullivan and Jerry Coker in full support. Just heavenly!
Special attention should be given to the strength and backgroup experience of the instrumentalists involved in this project. From the University of Tennessee Studio Music and Jazz Program developed by Jerry Coker, Fabrizia selected members of that Faculty for the CD.
She had already been working with and sitting in with the premier rhythm section, comprised of internationally known Donald Brown, piano; Mark Boling, guitar, Rusty Holloway, bass; and Keith Brown on drums; this made for a strong rapport going into the recording studio. Carlos Fernandez added the percussion spectrum brillianty. Add to this, the genius of Ira Sullivan, and the result is a rare musical treat!
DOMENICA 23 APRILE 2006 alle ore 20, canterò e leggerò alla mostra Book Art in via dei Marsi 18, a Roma (San Lorenzo). Ecco il comunicato stampa dell'Associazione Artetica:
Associazione di Promozione Sociale Artetica
Via Dei Marsi 18 - 00185 Roma
w w w . a r t e t i c a . o r g
Comunicato Stampa “BOOK-ART” Mail-art, libri-oggetto, libri-d’artista.
Con il Patrocinio Comune di Roma - Assessorato alle Politiche Culturali, e dell’Accademia di Belle Arti di Roma.
Arte, Musica, Poesia celebrano il libro. L’Associazione di Promozione Sociale Artetica fondata recentemente da giovani donne artiste presenta, all’interno del progetto ”Marque-Page” ideato per la divulgazione del libro-d’artista e del libro-oggetto, la mostra BOOK-ART un’esposizione di opere d’arte provenienti da tutto il mondo. Più di 150 opere d’arte in forma di libro riunite in un evento espositivo in programma per la primavera 2006. BOOK-ART è una mostra da toccare, da sfogliare, da conoscere liberamente per lasciarsi stupire ed emozionare.
Il grande fermento che ha suscitato BOOK-ART ha confermato il forte potere evocativo del libro, fonte inesauribile di idee e mezzo dalla grande forza espressiva, fondamentale per la diffusione della conoscenza finalizzata a sensibilizzare la collettività rispetto alle radici culturali mondiali. Il progetto BOOK-ART ha avuto come fil rouge la creazione di opere d’arte dai contenuti sociali, poetici, visuali e concettuali straordinari, ed è stato divulgato in ambiti artistici diversificati ed in paesi di tutto il mondo favorendo lo scambio interculturale.
Al progetto BOOK-ART hanno aderito artisti da ogni parte del mondo: Argentina, Austria, Australia, Belgio, Brasile, Canada, Filippine, Francia, Germania, Giappone, Grecia, Inghilterra, quasi tutte le regioni d’Italia, Libia, Lituania, Messico, Norvegia, Olanda, Polonia, Perù, Russia, Senegal, Stati Uniti, Svizzera, Svezia, Thailandia, Ucraina, e molti altri. Gli artisti che parteciperanno all’evento hanno donato ad Artetica le loro opere, libri meravigliosi, coinvolgenti, capaci di produrre emozione e stupore, veicolo di significati esperienziali che soltanto l’oggetto libro è capace di trasmettere.
Le esposizioni si terranno a Roma presso la sede di Artetica in via dei Marsi 18 nel quartiere S.Lorenzo, un piccolo open-space, laboratorio artistico, centro culturale che convivono in momenti diversi, rendendo semplice e spontaneo l'avvicinamento del pubblico all'arte, alla musica, alla cultura e alla produzione creativa. Ingresso libero.
Vernissage 23 aprile 2006
Inaugurazione ore 20.00
ingresso libero
Manifestazione promossa da UNESCO
Commissione Nazionale Italiana nell'ambito della Giornata Mondiale del Libro e del Diritto d'Autore 2006.
Con il Patrocinio Comune di Roma
Assessorato alle Politiche Culturali, e dell’Accademia di Belle Arti di Roma.
Arte, Musica, Poesia celebrano il libro.
In occasione della Giornata Mondiale del Libro e del Diritto d’Autore 2006 UNESCO in programma il 23 aprile 2006, s’inaugurerà a partire dalle ore 20.00 presso l’Associazione di Promozione Sociale Artetica in via dei Marsi 18 a Roma, una selezione speciale del progetto “BOOK-ART”, e verranno presentate opere inedite di artisti di chiara fama invitati per l’occasione. Verrà esposto per la prima volta a Roma il libro d’artista di Giulia Napoleone e Antonella Nedda “Notte Chiara”. La serata vedrà la partecipazione straordinaria di due tra i più grandi artisti del panorama musicale italiano: Maurizio Giammarco, sassofonista e compositore (Direttore della PMJO, Parco Della Musica Jazz Orchestra) e la musicista e cantante Fabrizia Barresi (Siena Jazz) che interpreteranno con suoni e parole i testi delle opere in mostra.
Per informazioni: Associazione di Promozione Sociale Artetica - Via Dei Marsi 18 - Roma www.artetica.org -info@artetica.org - 349.2911658 - 333.3806558
VOCALIA: UN TERRITORIO DA ESPLORARE
Viaggio nel cosmo della voce attraverso i 4 Elementi fondamentali
Seminario di Canto e Vocalità condotto da Fabrizia Barresi
I - TERRA
Pulsare e Respirare, Equilibrio dinamico, Aperture e Rotazioni
Il Suono Osseo, i cinque suoni base e la Radice.
Ritmicità e Vitalità della Voce
II - ACQUA
Uso creativo delle Cavità Risonanti ed Espansione del Suono nello Spazio Timbro, Volume, Proiezione della Voce
Relazione gesto/timbro: movimento, danza e melodia.
III - FUOCO
Appoggio ed Ancoraggio del Suono
Valenze percussive e melodiche di Vocali e Consonanti: lo Strumento Naturale
Energia del testo, Interpretazione attraverso il Suono
IV - ARIA
Ciclicità: Relazione respiro/postura, durata/sostegno, acuti/gravi Collegamento fluido dei Registri, eliminazione del “Passaggio” Interpretazione attraverso la Storia del Personaggio da raccontare
Questo è il mio quartetto americano, il gruppo con cui è nato il progetto del mio disco CHOICE, nell'agosto del 2004.
Con me ci sono Mark Boling (guitar), Rusty Holloway (bass), e Keith Brown (drums).
Ci hanno poi raggiunti Carlos Fernandez (percussions), Jerry Coker (tenor sax) e Ira Sullivan (soprano & alto flute, soprano & tenor sax), nello studio di registrazione di Allen Smith (sound engineer at alsstudio.com) a Knoxville, in Tennessee.
Qui siamo nel giardino davanti alla sala, in una pausa fra una take e l'altra...
RESUME FOR FABRIZIA BARRESI
I was born in Rome, Italy, in 1959. After completing bilingual studies in Italy at the Lycée Chateaubriand in Rome, I received a diploma in “Baccalauréat ès Lettres et Philosophie” from the Université de Grenoble (France). After graduation I began my studies in classical piano, classical (opera) voice as a “soprano lirico-leggero”, and other vocal techniques (Arabian music, Pigmies singing techniques, Indian classical music, overtone singing and Nada Yoga). My work focused very soon on bone resonance, body voice and the re-education of verticalization and the ability to listen to special frequencies based on the studies made by the famous French otorhinolaryngologist Dr. Alfred Tomatis.
I also studied jazz harmony, piano, alto saxophone and drums and created my own personal method of research regarding the sound of the vocal instrument and improvisation, by working on jazz standards and original compositions. In 2004 I studied with Jerry Coker his special program “Jazz keyboards for pianists and non-pianists”, and I now teach it in Italy with his personal authorization.
One of the main points of my method is to use our physical memory in its entirety, unlocking muscles, articulations, senses interrelations and therefore special natural movements to obtain the best performance with a little amount of conscious, technical effort, so that the focus stays on both artistry and feeling, and the quality of the vocal sound remains natural, and personal.
Being a teacher as well as a performer I received a diploma as a Consultant Facilitator and Instructor from 3in1Concepts (Burbanks, CA). This technique helps to resolve motor and learning dyslexia. I frequently work together with psychologists and therapeutists, on vocal re-education and many other psychologic and physical unbalances related to vocal expression.
My work with singers and actors and in personal study, is concentrated as much on feeling as on the study of technique. It’s a discovery of an emotional sound hidden between the lines of physical sensation and tied to the vibration of sound, timbre, and emotion. It departs from the art of scat singing but moves towards a less syllabic territory: the new sounds/colors and dynamics are therefore purely instrumental. The group work begins with the construction of a vocal warm-up and is created specifically for the participants. It utilizes various techniques of vocal emission from the classical techniques of lyric (opera) singers to ethnic techniques from various parts of the world as well as the vocality tied to blues and gospel. The search for the most authentic personal vocal sound is the fundamental goal of the study, so that the singer can release by choice his/her models of imitation, preconceptions of personal capacity, and preconceptions of timbre and vocal potential. The objective of the seminars is to develop an ability to listen that is personally, as well as globally, open. In this way the individual’s sound fuses perfectly with the collective sound, developing the gestation, projection and extension of personal colors within the sound/improvisation of the group.
I am a member of several jazz groups in Italy and the U.S. as well as working free-lance. I’ve made two recordings in Italy: Pithecanthropus e Altre Storie (original music and arrangements of compositions by Charles Mingus recorded with bassist and arranger Andrea Avena) and the suite Estrela da Tarde (original compositions by Andrea Avena based on poems by Pablo Neruda and Manuel Bandeira, with the M.J.Urkestra conducted by Roberto Spadoni).
In 1992 I participated at Knoxville Jazz and Blues Festival (TN) with various American combos, pianist Donald Brown and saxophonist Joe Donato. During the festival, I also participated in the “Singers’ Summit” – an octet of singers including Bob Dorough, Janet Lawson, April Arabian, and Patty Coker.
My first American CD, named CHOICE, has been released in 2006. The band features Mark Boling on guitar, Rusty Holloway on bass, Keith Brown on drums, Carlos Fernandez on percussions, and Ira Sullivan and Jerry Coker as special guests on horns.
In 1993 I was invited by the Berklee College of Music in Boston to hold a seminar on improvisation focusing on the use of specific techniques used to create bone resonance, and special creative warm-ups. Having created a method of study for vocal technique and improvisation, I teach these techniques in workshops both in Italy and abroad for singers, actors, and dancers, dedicated to the relationship between sound, space and movement.
Since 1994 I’ve been the director of the Voice Program and Improvisational Techniques in Siena, Italy (Fondazione Siena Jazz – Accademia Nazionale del Jazz), where I teach vocal technique, interpretation, improvisation, and I lead a Gospel choir and a combo class for singers. The Siena Jazz jazz school is internationally wellknown for its distinctive creative approach directed towards the development of artistic and stylistic personality. Its seminars have produced many international talents.
Since 2001 I’ve been leading workshops for professional training at the “Teatro Eliseo” in Rome (a project led by the opera and theatre director Marco Carniti). I’ve also collaborated with the actor, author, and theatre director Leo de Bernardinis, who used to perform as an actor together with jazz improvisors as Steve Lacy, Jean-Jacques Avenel and John Betsch, on the research project “L’Attore Jazzista”. In relation to this project, I worked with professional actors teaching correct vocal projection in relation to the character portrayed and each actor’s expressive color in response to the dramatic choices of the director; we also worked special jazz exercises and warm-ups in order to enhance certain musical skills, as listening, rhythm, right pitch intonation and harmonization; the final goal of this project was to bring the actors to act their pre-written lines as if they were in fact improvising in a jam session, making each single performance a unique theatrical event.
In 2002 I was invited to participate in a project by the French composer Hector Zazou where I did a live performance with a septet for the 1956 film Le Mystère Picasso, where Pablo Picasso himself is painting and the director Henri-Georges Clouzot shows how the paintings are created, layer after layer, in subsequent flows of improvisational energy; the original soundtrack having been removed for this special performance, to allow brand new compositions (both written and improvised) to serve Picasso’s powerful images, artistry and genius thru the experience of jazz improvisation and contemporary sounds and rhythms.
At present I’m working with the researcher Alberto Tedeschi on an experimental study begun in Milan in 2003 on the effect Holographic Bioresonance“ has on vocal sound and artistic performance. I’ve regularly participated with a cappella vocal improvisation and the use of a technology created specifically for the occasion (Wide Holographic Intensified Transferred Energy, W.H.I.T.E.“ technology) as well as participating in lectures on quantum physics and water physics held by various researchers of Q.E.D. (Quantic Electro Dynamics), among them Professor Emilio Del Giudice of the National Institute of Nuclear Physics, in Italy.
Quantum Jazz, it’s like a splinter of jazz in the free music of life as it flows; a quantic jazz to infuse depth into speed; well, a little something that just changes everything - a delicate butterfly that sets into motion the big engine of life with her subtle force.
Life in Motion, always. Because I like so much to live in a suitcase – well, maybe two… Because life means movement, even when other people see you quiet and still from outside. It’s a dynamic equilibrium, which in fact means you have to be able to dare, and fly high…
A Blog instead of a regular old style web site, because I yearn for, and need, more and more open sources and templates: for my incessantly in and out moving thoughts, and for the magically spun thread of my hypertextual ideas.
 Beh sì, io ero felice lo stesso, e tutto sommato tranquilla. Però adesso che mi ha telefonato in piena notte Allen trionfante, per dirmi che ha ritrovato i file mancanti, beh... Sì insomma c'era stato un intoppo. Non ritrovavamo più l'ultima versione di Footprints, praticamente finita, solo da missare. Io ero sicura che fosse su un altro hard drive, e infatti avevo poi ragione. Ma non c'era verso di farlo saltar fuori, 'sto dannato disco rigido, e così mi ero un pò rassegnata a rifare tutto, i temi, i soli, con parecchia tristezza perché l'interplay con gli altri, specialmente con Ira Sullivan, era stato fantastico. Difficile ricrearlo così a posteriori... Invece ecco, and the good damn news è che "that shit sounds really damn bad" (detto qui al sud suona "deeemn beeeeed", e significa "da paura"). "I recovered everything, every single file, I already put them together and man, that sounds damn well" mi dice Allen concitato. Si scusa, anche, perché quel che è successo è dovuto al fatto che stava under pressure. Oh, faccio io, mi spiace. "No, no, I mean CREATIVE pressure. That's positive pressure". Insomma, mi dice, avevo proprio voglia di lavorare a questo progetto, non vedevo l'ora... Ve l'ho detto, sono proprio fortunata, buddies.
Fabrizia Barresi
presentsSeminars for SingersSound, Space, MovementVocal technique, interpretation, improvisation for singers, instrumentalists, actors and dancers. ProgramPreparation of the vocal instrument involves techniques for:relaxation, breathing, free emission, centering, posture, balance, listening, energy, volume, direction, self-perception of anatomy and physiology. Presentation of the method for daily work:exercises and vocalises: how to use them, force, strain and muscular work, anchoring and support, warm up, loosening, agility, hints for vocal re-education (spoken and sung), Why do we practice vocalises Ancient, classical or modern:falsetto and chest voice, extension, registers, passages, timbres, speaking, acting, singing.
One voice, many voices:
antagonism and conciliation,
emotions and emotivity,
the voice and the stage,
the characters and their voices,
creating a style.
These seminars propose a program created to address the doubts of the singer:
1. which technique to use
2. are different vocalities (and therefore techniques) reconciliable
3. how do we imitate a famous singer
4. why do we tire in rehearsal
5. how do we sing in falsetto
6. how to avoid the difference in timbre in the passaggio
7. how do we reach the stratospheric high notes to deep bass notes
8. strength (volume, intensity and quality of the timbre)
9. lightness and ease
10. resistence without losing our much loved vocal identity
11. correct use of dynamics
The answers given will refer to a new METHOD of learning and re-education of the voice and to guided listenings. These topics, or part of them, can be presented in 2 4 hour lessons, or seminars of several days or weeks.
Contact: fabrizia.barresi@gmail.com
Voilà, si vous voulez m'écouter chanter en Français, vous n'avez qu'à choisir:Vous pouvez écouter Les Feuilles Mortes de Joseph Kosma et Jacques Prévert, et une version bilingue de Un Jour Mon Prince Viendra. J 'avais bien improvisé sur deux couplets, à l'origine, mais j'ai soudain eu envie de récrire un texte, meme en citant les quelques mots que nous connaissons tous, chantés par Cendrillon...). Alors voilà, la chanson commence en Anglais, joue à cache-cache avec les syllabes du scat (qui d'ailleurs citent une chanson romaine très connue...), puis réapparait en Français pour me raconter un peu, moi qui aime tant jouer avec les mots...
…des mots sans fin, de petits mots,
des mots d’amour,
des mots avec des majuscules, de tout petits mots minuscules…
Ensuite, un morceau dédié par l'auteur Andrea Avena et par moi-meme (j'en ai écrit les paroles) à l'acteur Philippe Noiret, et un morceau composé par le guitariste américain Mark Boling, pour lequel j'ai écrit un texte en Français inspiré du tableau de Picasso "La Joie de Vivre", que j'ai pu longuement admirer au Musée Picasso d'Antibes: Twenty-five times around the sun.
C’est toi et moi, des mots qui suivent des pas
Deux échos d’un cœur qui bat
Des yeux, des ailes, baiser d’un arc-en-ciel
Nouvelle fleur et nouveau miel…
La vie, la joie, printemps qui chante en moi,
dans ton cœur j’ai dessiné des roses
des bleus, des verts, un horizon, la mer,
vingt-cinq fois un tour de terre…
Des yeux, des ailes, baiser d’arc-en-ciel,
nouvelle fleur, nouveau miel
Echos… Echos…
Ressac, ruisseau…
La vie, la joie,
des mots, des pas….
Enfin, l'arrangement dramatique qu'a fait Andrea Avena de Libertango de Astor Piazzolla, où je récite d'abord en espagnol le terrible texte Los Dictatores de Pablo Neruda, m'a poussé a écrire des paroles, là aussi en Français, paroles de liberté en exil, comme pour tant d'Argentins dans le monde...
|
|
Ci sono 1173 persone collegate
|
<
|
novembre 2024
|
>
|
L |
M |
M |
G |
V |
S |
D |
| | | | | 1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
10 |
11 |
12 |
13 |
14 |
15 |
16 |
17 |
18 |
19 |
20 |
21 |
22 |
23 |
24 |
25 |
26 |
27 |
28 |
29 |
30 |
|
| |
|
|
|
|
|
|
23/11/2024 @ 19:40:19
script eseguito in 1231 ms
|
(p)Link
Commenti
Storico
Stampa
Feed RSS 0.91
Feed Atom 0.3