Voice

Monica Benvenuti

Italy

She was born in Florence and graduated in literature and philosophy.

In the early years, her career was mainly devoted to the baroque and classical repertoire. Later she developed a specific interest in music from the 20thcentury as well as contemporary, which has brought her to explore the potential of the human voice in relation to various musical languages and also to electronic experimentations.

She held concerts in Germany, France, Spain, Belgium, Czech Republic, Hungary, Japan (Tokyo,Suntory Hall), Brazil, U.S.A., often playing music dedicated to her. In 2004 she was invited by Sylvano Bussotti as the protagonist of La Passion selon Sade at the Teatro de la Zarzuela in Madrid, under the direction of Arturo Tamayo. In 2007 she performed again Bussotti’s opera Silvano/Sylvano, at the Academy of St. Cecilia in Rome, and the Rara Film (Bologna, 2008), in roles specifically written for her.

After various experiences in musical theater, she debuted as actress in the monologue Not I by Samuel Beckett, directed by Giancarlo Cauteruccio (2006 Italian Critics Award). In the last few years she sang Acustica, Pas de Cinq and Der Turm zu Babel by Mauricio Kagel, Como una ola de fuerza y luz by Luigi Nono, several editions of Pierrot Lunaire by Schoenberg, Le Marteau sans maître by Boulezas well as many vocal works by John Cage and Luciano Berio.

She recorded for Arts, Materiali Sonori, Nuova Era, Sam Classical, ARC Edition, Ema Records, Sheva Collection.

<< Thank you for letting me share this testimony of suffering.
It is miraculous to hear a different polyphony every time, a polyphony that is not based on beauty, but on emotion, pain, passion.
It doesn't matter to agree, no conductors or conductors are needed, each of us lives his 12-minute experience in a personal way, closed in his claustrophobic space, yet the voices and bodies always form something strong, true and revolutionary. Yes, because art must be revolutionary, it must give the impulse to see things from a different point of view, it must go beyond conventions and become arbitrary, dissonant. Here, we with our wonderful dissonances hope to shake those who listen to us and give them a glimmer of freedom.>>

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