Music theatre piece for four Bassalons. Previously considered extinct, this majestic animal was hunted down for centuries because of its resonating properties. The bassalons are large herbivorous mammals with a long, elegant neck, twisted snout, and a stout, barrel-shaped torso. Yet, its most extraordinary feature was hidden within its chest – a vast, resonating cavity that acts as a natural amplifier for the deep, sonorous hums it used to communicate. As visitors or intruders, the audience’s actions directly affect the animals’ behaviour, creating an interactive and participatory experience.

The performance is a collaboration with sound technician Siavash Jafari and visual artist Luca Tornato Serafini, who are both highly experienced in interdisciplinary performances. They use light, video and spatialisation to add relief to the themes of identity and mask-wearing. Myrto’s on-stage team consists of the versatile singer Kristia Michael and members of Ensemble Modelo62.

“Pay To Destroy” by Gagi Petrovic is an activistic concert where the audience members’ decisions influence the music, creating
a personal sense of urgency and taking the listeners on a contemplative journey. During the performance,
each listener can choose to make ‘virtual purchases’ to improve their own comfort but destroy aspects of
the ongoing composition. Such actions irreversibly alter the predefined musical patterns, thereby audibly
‘polluting’ the music.

“Prima Materia” is a trilogy that will be premiered at the festival Dag in De Branding. The inspiration derived from the poem Sonnet VIII, by Fernado Pessoa. A poem about selfhood and multiple concealing masks that we, people, often adopt in society. Departing from these ideas, “Prima Materia I” invites the audience to a ritual performed by Kristia Michael (voice), Klara van de Ketterij (percussion), Santiago Lascurain (e-guitar) and Codi Takács (double bass).

Rivers are particularly complex and dynamic systems: in infinite interactions, they shape the land, while at the same time being shaped by human visions, fears and needs. Rivers are also valuable economic assets, witnesses and bearers of history.

 “Ways to listen to a river” by Nahuel Cano is an audiovisual performance , a concert that combines live music, video projection and spoken word.

An interdisciplinary creation by Luz Lassizuk, Ezequiel Menalled and Yolanda Uriz. In this piece participants are invited to experience reality in three distinct ways. The first two of them happen at the theater. The third one could only be accessed virtually (through a QR code).

An interdisciplinary creation by Luz Lassizuk, Ezequiel Menalled and Yolanda Uriz. In this piece participants are invited to experience reality in three distinct ways. The first two of them happen at the theater. The third one could only be accessed virtually (through a QR code).

Nahuel Cano invites us to listen to the voices of rivers. What are the stories and histories that a river carries? What can we learn from them? How do we as humanity deal with the earth and nature as a source of life?

‘Ways to listen to a river’ is an experimental musical installation with live video projections.

A collective composition for ensemble, participants and audience, initiated by Alison Isadora and Modelo62.

The piece is made in two distinct moments: first in a creative session where participants work in groups, together with members of ensemble Modelo62 to shape and learn material. In the evening they will perform altogether and share the results of the exploration with the audience.

You are invited to take part in Together#6, a collective composition for ensemble, participants and audience, initiated by Alison Isadora and Modelo62. 

What does it mean to create music together, collectively?  

Together#6 is part of a process, a way of rethinking and reimagining what it means to make music. What kind of music do we make if we embrace the possibility that the roles of the composer, the performer, the audience, and also the score and the venue are creatively intertwined? 

You can choose to experience it in two different ways:

1. As a Participant, creating, rehearsing and performing together with the musicians of Modelo62 in a one-day journey. (Reading music is not required. Whatever your previous musical experience you are welcome!) Are you interested in joining us as a participant and play together with Modelo62? You will find all the info HERE.
2. As an Audience, attending the concert and listening to the result of the creative process.

Reserve your tickets HERE. Free entrance.

Cordiality Vocal Ensemble.

A collective composition for ensemble, participants and audience, initiated by Alison Isadora and Modelo62.

The piece is made in two distinct moments: first in a creative session where participants work in groups, together with members of ensemble Modelo62 to shape and learn material. In the evening they will perform altogether and share the results of the exploration with the audience.

Free entrance. Reserve your tickets HERE

Guzmán Calzada Llorente – Strands of Polyphony #3 | Ensemble Modelo62 in collaboration with Heliosfero

Concert 3 | 20.00 – 21:00

Clara de Asís, new work (World Premiere)

Cecilia Arditto, “The world according to Harmon” (World Premiere)

Silvia Borzelli, “Polar b”

Maurizio Tedde, “Venus Station”

Concert 4 | 21:30 – 22:30

Chaz Underriner, “Moving”

Featuring Nico Couck on Pedal Steel Guitar

Concert 1 | 20.00 – 21:00

Robert Ashley, “Revised, finally (April, 1961 – April, 1973), for Gordon Mumma” 

Lucie Nezri, “For experiencers (Modelo62)” (Dutch premiere)

Anthony Vine, “For Agnes Martin”

Roxanne Nesbitt, “Death and the rest”

Concert 2 | 21.30 – 22:30

Clarence Barlow, “Sachets des cisaux insatiables”

Bart De Vrees, “26 fragments, or doing things in the age where everything has been done”

Keir Neuringer, “Elegy for the schoolboys at Ghazi Khan”

In Ways to listen to  a river Nahuel Cano researches the history and meaning of rivers: the Limay and Salado in Argentina and the Vecht in the Netherlands. He translated the research into music and poems, to later build an audiovisual performance in collaboration with filmmaker Juan Fernández Gebauer and Ensemble Modelo62. Ways to listen to a river  is a “performative concert”: It consists of live music, video projection, spoken word and actions on stage.

Untitled #335 is part of a series of compositions by Francisco López for blindfolded ensembles. In the obvious absence of score or visual cues, without improvisation and with a crucial need for precision and acuity, musicians rely on attentive and dedicated listening to the music. Listening takes precedence over “reading” and the piece is “directed” collectively. Sound itself becomes structure and temporality.

for experiencers by Lucie Nezri consists of a transition between two very close tunings and is based on an unmeasured notation. Performers are responsible for continually recreating a certain dynamic in rhythm, variety and expressiveness in their way of playing, both on an individual and collective level. The piece therefore depends on a synergy between the different instrumentalists. First ensemble piece by composer Lucie Nezri, for experiencers was commissioned by the GMEA.

Free admission / concert gratuit

Free admission

As part of the Gaudeamus programme, we are bringing Moving to Orgelpark in Amsterdam. Modelo62 will perform Moving, a composition by Chaz Underriner, who was nominated for the Gaudeamus Award in 2017. Moving is an abstract translation of long travels through the southern US, in which the ensemble and guitarist Nico Couck are surrounded by 10 speakers (2 per musician) and 5 screens. With optical illusions, field recordings and slow ambient music, it is an overwhelming trip for performers and  public alike.

We are happy to be invited again on the fabulous Gaudeamus programme, with this  multimedia adventure. Modelo62 will perform Moving, a composition by Chaz Underriner, who was nominated for the Gaudeamus Award in 2017. Moving is an abstract translation of long travels through the southern US, in which the ensemble and guitarist Nico Couck are surrounded by 10 speakers (2 per musician) and 5 screens. With optical illusions, field recordings and slow ambient music, it is an overwhelming trip for performers and  public alike.