Review: Resonant Bodies Festival, a Summer Camp for Singers

September 7, 2017 - summer camp

The many revelation paean to a Resonant Bodies Festival during a opening night on Tuesday came from a vocalist and composer Theo Bleckmann, who took a theatre first. Thanking a assembly for coming, he pronounced that a festival, holding place this year during Roulette in Brooklyn, had orderly a many considerable backstage he had encountered in 30 years of performing.

There were yoga balls, he reported. There were massages. There were lozenges and tinctures. There was coconut H2O and pineapple for outspoken health. (Pineapple! Who knew?)

The sense he gave of Resonant Bodies, that runs by Thursday, was of a kind of scrappily lush summer stay for singers. Which is substantially only what Lucy Dhegrae, a event’s owner and organizer, intended. An soak in initial outspoken music, this is as artist-focused as a festival gets; it was started, Ms. Dhegrae told me in a new interview, essentially to give performers a event to get to know one another’s work.

That work is mostly a work in progress. Much of a interest of Resonant Bodies has been a probability of conference pieces in a routine of formation. And in juxtaposition: The festival has stuck, given a premiere in 2013, to a defining structure of 3 nights, any with 3 performers giveaway to module a 45-minute set however they like.


Jennifer Walshe’s “The Church of Frequency Protein” called for percussionists to liking oranges and rip packet leaves.

Jacob Blickenstaff for The New York Times

A Resonant Bodies dusk is a triptych of snapshots. Tuesday brought Mr. Bleckmann’s woozy, spacey loll act, his ethereal voice twisted by electronic relate effects and small idiosyncrasies. (At one point, he sounded like a ukulele strumming.) The difference in his “Songs in Color and Black and White” are few and formidable to discern: The importance is on trippy washes, outspoken Color Field paintings, and a altogether outcome is of looking during musical standards by squinted eyes.


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Perhaps something solemn and essential was what we felt we indispensable after Mr. Bleckmann’s confused set? Well, a Irish composer and vocalist Jennifer Walshe’s “The Church of Frequency Protein” — an explosive, infrequently humorous disaster of a thoughtfulness on media, memes and “Donkey Kong” — was not it.

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