"The starting point is the voice. A musical instrument that is able to articulate a great variety of  sonorous effects: from the word, sung or spoken, to melodies is their traditional conception, passing by noises in music's limits and the expressive tonemathic of language. All this conforms the use of  voice in Tramuntana Tremens." (Josep Ruvira).
 
 

Escena primera de Tramuntana Tremens La tramuntana ja brama, ja brama la tramuntana   

Brama que brama, la tramuntana, qué bestia, quin cor que té  

Aixeca pobles y arranca els meus cabells  

Els meus cabells s'en van amb ella  

Tramuntana, senyora, estira fort fins al mar...
 
 
"A coral concert, in which there are neither argumental support nor  determined text, but a succession of  quotidian situations. My idea has been to visualice music, in a way that every singer be a real protagonist. This is the difference from traditional opera, where the choir is always a secondary element, even when singing alone" (Carles Santos). Santos durante una representación

Tramuntana Tremens, premiered in 1990, is the first of the great concert-shows in Carles Santos' career. Performed entirelly by the author and the Ciudad of Valencia Choir - always a capella -, is formed by a linked  suite of sequences  in which alternate all kind of vocal combinations, from soloist voice to tutti. The members of the choir, in the opposite of usual immobility in these formations, move around, dance and jump all across the scenary, bringing the element that take the performance to a new dimension, as far from traditional concert as from what we usually call theater. MariaElena Roqué's dresses and the choreography by Gracel Meneu are the other two basic columns in Tramuntana Tremens.


 
What critics said about Tramuntana Pictures from Tramuntana Tremens To shows page