Alamargo

for soprano, Nina Dante of Fonema Consort

I am thoroughly invested in empowerment through vulnerability; I am thoroughly invested in explicit self-evaluation; I am not thoroughly invested in the treatment of instruments as objects. 

I would like to see what happens when a singer I know makes her instrument vulnerable. (exposing her teeth, her lips, her cheeks, her throat)

I would like to see what happens when she problematizes her instrument through her practice. (retracing her vocal warmups as pillars)

She would like to speak from a distance, a loudspeaker, providing her with the space to reflect upon her words. She is finally an idealization of herself, a sacred figure soaking up her faults, her contradictions. The stakes are higher here.  

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