PROJECTS
Her performances seek to explore the avant garde in both her choice of repertoire and the way she presents it. In 2016, she resolved to arrange the piano rolls of Conlon Nancarrow for her own voice multi tracked. The project NANCARROWKARAOKE is the result of this vocal investigation into this 20th century great and you can listen here. She also in involved in several fascinating collaborations AKKORDEON BAROQUE with Bartosz Glowacki is an exploration of the baroque era, stripping the music back to it's bare essentials. One of her latest collaborations is with extended technique tuba player Jack Adler-Mckean TIEFES ATMEN. A collaboration with Gregory Rose and Rob Worby on the JOHN CAGE SONG BOOKS goes back to 2012 where the trio recorded the first ever CD of the Songbooks for the SUBROSA label.
Often described as 'defiantly uncategorisable' Lore Lixenberg's own pieces and projects are an exploration into the meaning of opera and performance in the 21st century and beyond. Her compositions can be viewed as investigations that question the meaning of Bel Canto in the age of pluralities and multi-musics. A longing to escape the human form underpin the shamanistic piece 'BIRD'. The possibilities of different participatory, social and digital forms are explored as a basis for a new form of opera in her real-time 'opera installation' 'PRET A CHANTER' and the 'APP-era SINGLR, embracing politics in opera as
in 'politi' - of the people. Coming out of the trauma of Brexit, whilst living in Berlin she created the all-encompassing real-time opera and political party 'THE VOICE PARTY. Her piece 'PANIC ROOM - THE SINGTERVIEWS" is both a live performance and a YouTube TV Channel in which she uses the form of the interview as the basis for operatic narrative as in 'SINGTERVIEW" Singterviewing the likes of Pauline Oliveros & IONE, Phil Niblock, David Toop as well as priests, Imams, shopkeepers, baristas and gardeners.
She also created the piece 'INNANACARA'. Set in a hairdresser, it explores the hairdressing appointment as operatic narrative and is based on the ancient Sumarian myth that sees the goddess Innana descend into the underworld. It is also an exploration of themes of feminism through the prism of ancient Astro-Feminism that reaches beyond the fake, limp, commercialised and useless (anti) sisterhoods of today.
