In Paris she participated in composition seminars with Gérard Grisey (1993–1996) and took part in the annual computer music courses at IRCAM (1997) under the supervision of Tristan Murail. In 2005 she was a Visiting Scholar (Fulbright Fellow) at the Music Department of Columbia University (New York), having been invited by Tristan Murail1. Her works have been published by Rai Trade, Durand, Ricordi and Lemoine, and produced, commissioned and performed by such institutions as the Bayerische Staatsoper, Munich; Konzerthaus, Berlin; Rai Radio Tre, Rome; Deutschland Radio Kultur, Berlin; Ensemble Modern, Frankfurt; MaerzMusik, Berlin; Musik der Jahrhunderte, Stuttgart; Deutschland Radio, Berlin; ensemble recherche, Freiburg; Festival Ultrashall, Berlin; Orchestra of the Rai, Turin; WDR Sinfonieorchester, Cologne; Teatro La Fenice, Venice; Wittener Tagen, Witten; G. R. M., Radio France, Paris; and the Munich Biennale. Starting in 1998, she realized various productions at the Berlin Institute of Technology (TUB) in collaboration with Folkmar Hein.
In 2003 she started working at the Experimentalstudio of Freiburg, where she wrote a cycle of compositions that explore the sound configuration of the viola, with the assistance of André Richard, Reinhold Braig and Joachim Haas and in collaboration with the violist Barbara Maurer; it was presented in Berlin (Festival Ultrashall 2007) and is called “Xylocopa Violacea” (CD Stradivarius 2010)2. In the last few years, Lucia Ronchetti has been working on the compositional treatment of the voice, collaborating intensively with the Neue Vocalsolisten of Stuttgart, one of the foremost European ensembles specializing in contemporary vocal music3. Their collaboration has resulted in eight different productions: Studio detto dei venti, for four voices, 2010; Le voyage d’Urien, for voices and ensemble, 2008; Hamlet’s Mill, for voices, viola and cello, 2007; Coins and Crosses, for six voices, 2007; Pinocchio, una storia parallela, for four male voices, 2005; Last Desire, chamber opera for treble voice, countertenor and bass, 20034 5; Hombre de mucha gravedad, for four voices and string quartet, 2002; Anatra al sal, Comedia harmonica for six voices, 2000 (CD Kairos 2010). She has realized numerous music theatre projects inspired by the social scene6, exploring, in the dramaturgy, the concept of otherness (BendelSchlemihl, Strasse-opern, 2000, text by Ivan Vladislavic); outsider groups and dysptopia (Narrenschiffe, in-transit action, 2010, text after Sebastian Brant)7; limen/border (Der Sonne entgegen, chamber opera, 2009, text by Steffi Hansel)8; transitory mental illness (Le voyage d’Urien, drammaturgia, text after Gide and 19th century psychiatric reportages, 2008); sub-urbanity (Rumori da monumenti, drammaturgia, text by Ivan Vladislavic, 2007); and Sebenza e-mine, Radio Play, in collaboration with Philip Miller, 2010). For her music theatre projects she has collaborated with writers Ermanno Cavazzoni, Ivan Vladislavic, Eugene Ostashevsky; artists Toti Scialoja, Alberto Sorbelli, Judith Cahen, Dörte Meyer, Adrian Tranquilli, Elisabetta Benassi, Mirella Weingarten; and sound designers Marie-Hélène Serra, Folkmar Hein, André Richard, Reinhold Braig, Carl Faia, Olivier Pasquet and Thomas Seelig. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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