WORKS
Music theatre/staged concerts (selected)
Evergreen or who would not weep (Opera and ballet Ljubljana, SI), 2016
Fauvel (Theater Basel, CH), 2016
Fortuna wont be Fauvels’s match! (SNG Maribor, SI), 2015
Toxic Psalms /Ultimate collective experience (St. Ann’s Warehouse, NY), 2015
Scivias (Palao de la musica Catalana, Barcelona, E), 2015
Spixody (festival Predihano Ljubljana, SI), 2006
It is a story about you, E 78 (Pecs, HU), 2015
Slovenian Sounds (Cankarjev dom, SI), 2001
Na juriš in the mood! (Cankarjev dom Ljubljana, SI), 2009
Adiemus (Cankarjev dom Ljubljana, SI), 2005
Vampirabile (Cankarjev dom Ljubljana, SI), 2000
Scent of Ancestors (Radyal System Berlin, DE), 2013
What have you got against peasants, lady? (Choregie festival), 2013
Placebo or Is There One Who Would Not Weep (Choregie festival), 2012
Rusalke (Španski borci Ljubljana, SI), 2010
From Time Immemorial … (Opera and ballet Slovenian National Theatre Maribor SI), 2002
CS LIGHT (Cankarjev dom Ljubljana, SI), 2007
Stripsody (National theatre Maribor, SI) 2005
Perspective East (festival Choregie, SI), 2011
Die Ursonate, (Art Gallery Maribor, SI) 2009
Scivias (Cankarjev dom Ljubljana, SI), 2001
Who'd Have Thought That Snow Falls (festival Choregie, SI), 2012
Vertical Thoughts (National theatre Maribor, SI), 2010
When the Mountain changed its clothing (Ruhrtrienalle, DE), 2012
Miracles (festival Choregie, SI), 2011
Pleading for words (Slovenian Music Days, SI), 2011
For many years Karmina Šilec has had an intense focus on performing mostly new music in the context of stage productions. She has developed the artistic concept Choregie. Choregie focuses on the creation process that brings the musical notion of composing to the theatrical aspects of performing and staging. In Choregie a 'meta composition' is created by positioning different music materials into a bigger composition. Different elements in the performance merge into one (movement, singing, word, visual), all means are used either in a balance or in favour of one; the fusion of all this gives very different semantic directions.
The word choregie has got roots in the Greek language where choregs were supposed to be patrons of art, and the idea about developing the Choregie concept draws largely from Greek tragedy, particularly the role of the choir in it. The term 'new music', however, refers to the music which represents the very base and the major part of all projects - the music of our times, as well as to the music which is not commonly heard on stages and is thus considered new, such as medieval music, ethnic music or music taken from certain contexts, e.g. sociological or historical.
With 'Choregie - new music theatre' Vocal Theatre or Theatre of Voices' Karmina started to open up new spaces to multi-form music events, and to wider spaces to expression, intensity of experience, communication. It was not about breaking down boundaries between disciplines, it was about putting them next to each other, about coexistence.
In most of Choregie projects Karmina Šilec is also the stage director, set designer, choreographer.
Choregie/thematic concerts (selected)
Balkanika 2 (2017), Lajtl (2017), G. Bryars: Laude cortonese (2016), elegance a la francese (2016), Za dobro letino (2016), Zvoki Azije (2010), Balkanika (2014), Words and music (2014), Dveri (2013), Tehilim (2013), Brez kiklce (2009), Americas (2008), Slovenian Sounds 2 (2008), Drum café (2006), O Succesoress (2005) , From the Stone in the Water (2005), O, Deus (2005), Balkanika (2005), Miraculum (2004), Musica Inaudita (2002), Nolite tacere (2001), Songbridge (2000), Fallen Women (1999),
Aurora (1997), More a tale than reality (1995), Messe in d-minor by Peter Cornelius (1992), This time a bit different (1991). Invocations (2016), etc..Intono (2018), D. Lang: Little Girls Matches (2018), VOGP Music for Survival (2018)