" Met de oprichting van het Ensemble Zvezdoliki is fluitiste Oriana Dierinck erin geslaagd
razendsnel op de voorgrond te treden en zich een plaats te maken binnen de wijdvertakte
wereld van de kamermuziek. Haar onconventionele aanpak, waarbij de uitgekozen werken
het uitgangspunt vormen en niet de basisformatie van het ensemble, slaat aan. Het is het
repertoire dat bepaalt met wie zij in zee gaat.
Deze keuzevrijheid heeft echter niet voorkomen dat Zvezdoliki wel degelijk een gelaat heeft.
En hoe ! Zowel dankzij Oriana Dierincks verfrissende kijk op de uitbouw van het repertoire,
talloze initiatieven, als haar onfeilbaar gevoel om zich net met die fenomenale collega’s
musici te omringen die haar niet alleen inspireren maar ook telkens opnieuw in de
mogelijkheid stellen een uniek samenspel te creëren. Bij deze organische aanpak van
repeteren en musiceren staat de blootlegging van het ideale klankbeeld voor welke
compositie dan ook, centraal.
Wat de luisteraar te horen krijgt, is keer op keer het resultaat van een geweldige,
samenzweerderige zoektocht naar hét klankideaal.
Op die manier wil Zvezdoliki ook in de toekomst hét platform zijn voor de uitvoering van het
bredere kamermuziekrepertoire waaronder heel wat composities uit de 20 Ste en 21 ste eeuw.
Ook Astor Piazzolla’s operita “Maria de Buenos Aires” getuigt van Zvezdoliki’s verfrissende
aanpak ! In de uitvoering wordt niets geschuwd noch wordt er aan mooimakerij gedaan en
precies daardoor beroert ze en maakt ze telkens opnieuw zoveel emoties los. "
-- Pascale Montauban, Ariën Arts & Music Management - Belgium
" I've known Oriana Dierinck since several years now as an excellent flute player with an extremely open mind.
She also works very hard with her ensemble Zvezdoliki.
I had the honour to conduct the ensemble a few years ago for the first performance of "Autumn Septet" by Hugo Harmens.
It was quite a remarkable experience for everybody.
-- Luc Brewaeys, composer - Belgium
She also works very hard with her ensemble Zvezdoliki.
I had the honour to conduct the ensemble a few years ago for the first performance of "Autumn Septet" by Hugo Harmens.
It was quite a remarkable experience for everybody.
-- Luc Brewaeys, composer - Belgium
" Het was een groot plezier om met het Z V E Z D O L I K I ensemble te kunnen samenwerken ter gelegenheid van mijn 50ste verjaardag.
Dit schitterende en deugddoende initiatief zorgde voor een mooie reeks uitvoeringen van mijn werk op verschillende locaties in Vlaanderen.
De professionele en begeesterde instelling van deze musici was hartverwarmend.
Ik wil graag alle leden van het Z V E Z D O L I K I ensemble bedanken voor de inzet en de bijdrage aan deze unieke concertreeks ! "
-- Wim Henderickx , composer- Belgium
" Working with the Z V E Z D O L I K I ensemble was a true pleasure. For my commission, I was given the task of somehow linking my piece to the cantata "Zvezdoliki" by Stravinsky, from which the ensemble got their name. Such a task can be solved in many ways, and I was given full freedom from the ensemble to choose my own way of accomplishing the task.
The result was a piece where the opening chords of the Stravinsky played a central role as a sort of anchor point. The piece was not easy to play, and the ensemble did an excellent job together with Luc Brewaeys who conducted the premiere.
I was very pleased with the sounding result and the interpretation the ensemble arrived at. Communication was smooth throughout the entire process of our collaboration. Working with such skilled and talented performers is very inspirational for me as a composer. Their positive attitude was reflected in their performance of the music. Recording engineer Pieter Ketelslegers made a high quality recording of the premiere, and I'm happy to have such a good recording of a very vibrant performance. "
-- Hugo Harmens , composer - Norway
" .. onze 'die hard' daklozen en een warme schare publiek waren er.
Absolute top performance. En ineens ook m'n eerste Bourla experience. "
-- Michel Maes - Antwerpen, after Noot voor Nood concert 2016
Absolute top performance. En ineens ook m'n eerste Bourla experience. "
-- Michel Maes - Antwerpen, after Noot voor Nood concert 2016
" Before sharing my personal 1st hand experience of this spectacular production of ‘Maria De Buenos Aires’, some brief insight and explanation is needed. The originators and main performers behind this independent and accessible opportunity are Antwerp’s Zvezdoliki* ensemble. As part of the Noot Voor Nood outreach program and initiative. Both of which each share the same founder-member, main driving-force and artistic-director, namely the virtuoso classical flutist and polymath, Oriana Dierinck.
By way of introductory background and history, the Spanish-language tango-opera, ‘Maria De Buenos Aires’ was a collaborative joint-venture co-written between the Argentine duo: “Nuevo Tango” composer and musician, Astor Piazzolla, working with poet and lyricist, Horacio Ferrer; from an idea by Piazzolla’s then-mistress (and perhaps muse), Egle Martin. The dance-element adds at least some dimension of choreography and even ballet, alongside or even replacing opera’s theatre and acting aspects. To some extent, partially an updated version or possible parody of the Mary, Joseph and Jesus story – and arguably anti-clericalism, blasphemy, potential provocation and scandal – due to the title-heroine and lead-role, Maria, being a prostitute. The world debut of ‘Maria De Buenos Aires’ was premiered at Sala Planeta venue, in Buenos Aires, around or actually during the national and global developments and upheaval of May 1968.
However, this time around, the host venue was Antwerp’s historical and splendid Toneelhuis’ Bourla-Schouwburg, in that city’s “Theaterbuurt”. A theatre and concert hall, dating back to the early 19th century, which still retains many original features from then. Built on former textile trade premises; so yet another example of urban renewal and development using deindustrialized sites and areas for completely different and often cultural purposes – only far predating more recent times and our present day & age. Another interesting factor is there has been a long tradition of charitable and fundraising benefit events presented at the Toneelhuis’ Bourla-Schouwburg – which the Zvezdoliki ensemble and the Noot Voor Nood outreach program and initiative are continuing. Reminders that all such tendencies and phenomena are nothing new – being constant and ongoing – like everything else – whilst forever progressive and evolving.
The performance itself enjoyed an impressive (or even enviable!) audience-turnout; including those, perhaps otherwise less prepared or actually able to consider or attempt undertaking such an experience; a satisfactory fulfilment of the prime hope, intention, aim and plan.
The Zvezdoliki ensemble were joined by especially chosen and sympathetic musicians and singers. Not just some mere support-act, session-artistes, backing-group, secondary-extension or anything like that; but instead, proper equals, fully included, truly contributing, to the overall entirety.
Audience engagement and fascination. Dedicated musicians and singers. Endlessly, all along, from expectations beforehand, then at the start, throughout the performance itself, until after the ending. A maybe obvious comparison or similarity is to classical Greek drama (which could have been intended by Piazzolla and Ferrer), because of the commentary and narration, as well as implied action and also occasional masks and other props or minimal costume. Each musician and singer could be distinctly heard and appreciated, amidst tremendous balance, harmony, belonging and togetherness. Effort was demanded to hear and listen, even for those unable to follow or use Spanish language. True specialness and magic proved impossible to avoid, ignore, resist or deny. The only missing reaction was mass breakout of accepting defeat and surrender to urge for joyous and wild dancing. The Zvezdoliki ensemble and the other musicians and singer’s heartfelt energy and vibrancy made an electrifying atmosphere and buzz, causing uplift and widespread pleasure.
Another notable and praiseworthy distinction is the untiring help, welcome and friendliness that the personnel at the Toneelhuis’ Bourlaschouwburg showed and gave to the Zvezdoliki ensemble and the singers.
Lasting impression created, leaving a desire, hunger and need for still more.
Finally, thanks must go to Antwerpen District / Burgerbegroting, ProArte and De Pianotemmer for their support. "
* Zvezdoliki ensemble, begun in 2009, named after Igor Stravinsky’s collaboration with Russian symbolist poet and author, Konstantin Balmont (which was premiered in Brussels), whereby historical and recent music and instruments are deprioritized – whilst otherwise overlooked similarity is considered ; Zvezdoliki has always stayed creative, adventurous, unaligned, independent and original.
-- © Douglas Park (U.K. based and internationally active visual artist, author of literary prose and critical essays, also exhibition curator, as well as all practices combined.) - on 'María de Buenos Aires', Noot voor Nood 2016
By way of introductory background and history, the Spanish-language tango-opera, ‘Maria De Buenos Aires’ was a collaborative joint-venture co-written between the Argentine duo: “Nuevo Tango” composer and musician, Astor Piazzolla, working with poet and lyricist, Horacio Ferrer; from an idea by Piazzolla’s then-mistress (and perhaps muse), Egle Martin. The dance-element adds at least some dimension of choreography and even ballet, alongside or even replacing opera’s theatre and acting aspects. To some extent, partially an updated version or possible parody of the Mary, Joseph and Jesus story – and arguably anti-clericalism, blasphemy, potential provocation and scandal – due to the title-heroine and lead-role, Maria, being a prostitute. The world debut of ‘Maria De Buenos Aires’ was premiered at Sala Planeta venue, in Buenos Aires, around or actually during the national and global developments and upheaval of May 1968.
However, this time around, the host venue was Antwerp’s historical and splendid Toneelhuis’ Bourla-Schouwburg, in that city’s “Theaterbuurt”. A theatre and concert hall, dating back to the early 19th century, which still retains many original features from then. Built on former textile trade premises; so yet another example of urban renewal and development using deindustrialized sites and areas for completely different and often cultural purposes – only far predating more recent times and our present day & age. Another interesting factor is there has been a long tradition of charitable and fundraising benefit events presented at the Toneelhuis’ Bourla-Schouwburg – which the Zvezdoliki ensemble and the Noot Voor Nood outreach program and initiative are continuing. Reminders that all such tendencies and phenomena are nothing new – being constant and ongoing – like everything else – whilst forever progressive and evolving.
The performance itself enjoyed an impressive (or even enviable!) audience-turnout; including those, perhaps otherwise less prepared or actually able to consider or attempt undertaking such an experience; a satisfactory fulfilment of the prime hope, intention, aim and plan.
The Zvezdoliki ensemble were joined by especially chosen and sympathetic musicians and singers. Not just some mere support-act, session-artistes, backing-group, secondary-extension or anything like that; but instead, proper equals, fully included, truly contributing, to the overall entirety.
Audience engagement and fascination. Dedicated musicians and singers. Endlessly, all along, from expectations beforehand, then at the start, throughout the performance itself, until after the ending. A maybe obvious comparison or similarity is to classical Greek drama (which could have been intended by Piazzolla and Ferrer), because of the commentary and narration, as well as implied action and also occasional masks and other props or minimal costume. Each musician and singer could be distinctly heard and appreciated, amidst tremendous balance, harmony, belonging and togetherness. Effort was demanded to hear and listen, even for those unable to follow or use Spanish language. True specialness and magic proved impossible to avoid, ignore, resist or deny. The only missing reaction was mass breakout of accepting defeat and surrender to urge for joyous and wild dancing. The Zvezdoliki ensemble and the other musicians and singer’s heartfelt energy and vibrancy made an electrifying atmosphere and buzz, causing uplift and widespread pleasure.
Another notable and praiseworthy distinction is the untiring help, welcome and friendliness that the personnel at the Toneelhuis’ Bourlaschouwburg showed and gave to the Zvezdoliki ensemble and the singers.
Lasting impression created, leaving a desire, hunger and need for still more.
Finally, thanks must go to Antwerpen District / Burgerbegroting, ProArte and De Pianotemmer for their support. "
* Zvezdoliki ensemble, begun in 2009, named after Igor Stravinsky’s collaboration with Russian symbolist poet and author, Konstantin Balmont (which was premiered in Brussels), whereby historical and recent music and instruments are deprioritized – whilst otherwise overlooked similarity is considered ; Zvezdoliki has always stayed creative, adventurous, unaligned, independent and original.
-- © Douglas Park (U.K. based and internationally active visual artist, author of literary prose and critical essays, also exhibition curator, as well as all practices combined.) - on 'María de Buenos Aires', Noot voor Nood 2016
" Het concert van 5.2.2017 in Steenokkerzeel was een onverdeeld succes. Het Zvezdoliki Ensemble trad aan in trioformatie : fluit,altviool en harp. Begin en einde van het optreden was voor Debussy (Syrinx, twee liedbewerkingen, sonate en trio), en het zelden gehoorde ‘And Then I Knew ‘Twas Wind’ (Takemitsu) werd door het publiek zeer gesmaakt.
Voor mij was de creatie van vier werken een hoogtepunt : tijdens de uitvoering van het Capriccio voor altviool solo kon men in de zaal – buiten de muziek – een speld horen vallen.
De fluitiste werd bewonderd in ‘Flute Play’ voor fluit solo. Het auditorium werd gevuld met het subtiele ‘Garden Play’ voor harp solo en tenslotte speelde het ensemble mijn triosonate op meeslepende wijze.
Het werd een avond omlang te gedenken. Proficiat aan de muzikanten : Oriana Dierinck (fluit), Alisée Frippiat (harp) en Vincent Hepp (altviool), voor deze mooie prestatie !
-- Karel Van Eycken, composer - Belgium
Voor mij was de creatie van vier werken een hoogtepunt : tijdens de uitvoering van het Capriccio voor altviool solo kon men in de zaal – buiten de muziek – een speld horen vallen.
De fluitiste werd bewonderd in ‘Flute Play’ voor fluit solo. Het auditorium werd gevuld met het subtiele ‘Garden Play’ voor harp solo en tenslotte speelde het ensemble mijn triosonate op meeslepende wijze.
Het werd een avond omlang te gedenken. Proficiat aan de muzikanten : Oriana Dierinck (fluit), Alisée Frippiat (harp) en Vincent Hepp (altviool), voor deze mooie prestatie !
-- Karel Van Eycken, composer - Belgium
" A committed ensemble with a very good choice of music. "
-- Audience, part I - the Netherlands
-- Audience, part I - the Netherlands
" Congratulations, Oriana, this is excellent work. According to me, Antwerpen and Belgium do have a big treasure in Zvezdoliki Ensemble, which I expect they appreciate and take good care of. I look forward to hear from you and the projects again soon.
Love from Madrid. "
-- David Salinas Flores, clarinet player - Spain
Love from Madrid. "
-- David Salinas Flores, clarinet player - Spain
" Ik beken: dingen vervelen me heel snel, bovendien ben ik een Pietje Ongeduld.
Laatst was ik aanwezig op een concert van Z V E Z D O L I K I. Ravel, Britten, Henderickx op het programma.
Vanaf de eerste seconde was verveling een mij onbekend gevoel. En Pietje? Die was weg.
Om maar te zeggen: deze muzikanten maakten een heel diepe indruk. "
-- Audience, part II . Frie J. Jacobs - Belgium
Laatst was ik aanwezig op een concert van Z V E Z D O L I K I. Ravel, Britten, Henderickx op het programma.
Vanaf de eerste seconde was verveling een mij onbekend gevoel. En Pietje? Die was weg.
Om maar te zeggen: deze muzikanten maakten een heel diepe indruk. "
-- Audience, part II . Frie J. Jacobs - Belgium