Foligno, November 3, 2022 – Saturday 5th November starting at hours 21:00 will be held thepreview of the Dancity Winter 2022 with two unmissable concerts: on the stage of theS. Domenico Auditorium from Foligno the acclaimed artists will perform Hania Rani (pictured) e Lyra Pramukwhile to follow there will be a aftershow. The event, in collaboration with theUmbria Factory Festival, offers a glimpse into the current musical landscape in which electronic music, classical music and ethereal voices coexist with a decidedly contemporary approach. A real “jewel” for Foligno and Umbria!
A cinematic, intimate, refined sound. The music of Hania Rani born from the meeting of his crystalline voice and his elegant touch on the piano together with subtle electronic incursions. Award-winning Polish pianist and composeralready from his debut album “Esja”, released in 2019 on Gondwana Records, conquers audiences and critics, reaching over time millions of views on the web. Several of his productions, from the second album “Home” (2020) to “Music for Film and Theater” (2021), a personal selection of compositions for film, theater and other projects. Also in 2021 he signed his publishing rights with Wise Music Group, alongside names like Dustin O’Halloran, Hildur Guðnadóttir and Ludovico Einaudiand realizes with Dobrawa Czocher the album “Inner Symphonies” for the prestigious Deutsche Grammophon. In 2022 “Live from Studio S2” was released and at the same time he signed the soundtrack for the film “Venice – Infinitely Avantgarde“. He also composed music for the film “xAbo” directed by A.Potoczek and for the play “Nora” directed by Michał Zdunik. His song “Eden” is on the soundtrack of the short film by Małgorzata Szumowska for the film by Miu Miu “Women’s Tales”, while Hania and Dobrawa’s “Whale Song” was used in a commercial for Louis Vuitton; other songs by Hania have been included in the series Netflix “Last Chance U: Basketball” and “Cheer”. He is currently touring Europe with his “Hello” tour, also touching Foligno on Saturday 5th November.
Lyra Pramuk blends classical vocalism, pop sensibility, contemporary performance practices and club culture into what can best be described as futurist folk music. Growing up singing in choirs, she struggled to conform to the images and expectations of her small Pennsylvania town, creating in response a deep and complex inner world powered by the Internet foreshadowing his view of digital worlds as extensions of our embodied consciousness, liberated from the real world notions of presentation and acceptable knowledge. A diligent student at the Eastman School of Music, he learned that her skills lay in breaking and reinterpreting the academically pure classical music traditions that were expected of her. His interests lie more in pop than opera, counting Björk, Laurie Anderson, Meredith Monk, MIA and Missy Elliot as inspirations – all artists who exemplify his mantra that “songcraft is a way of short-circuiting the structures that they are sold to us as real differences in the world ”. Finding common ecstasy in choir and rave temples, Lyra’s immersion in Berlin’s techno scene inspired works – including her collaborations with Holly Herndon And Colin Self among others – who have impregnated the ritual experiences of the dancefloor with a sense of sound intimacy. A deep embrace of a spirituality, not bound by imposed orthodoxies, guides his compositional and performative processes. The body and spirit enter trance states during live performances, both fully embedded in the worlds she projects – worlds where every word can shine with flame and purpose, where sound is truly seen as an extension of our own. physical bodies and conscious desires.
Composed and arranged entirely by the sound of his voice, “Fountain, His debut on Bedroom Community, was hailed as “a powerful religious text in praise of the promise of human vocality” (The Quietus). Fountain integrates the intimacy of the clubthe emotional multitude of trans experiencesand the prohibitive possibilities of social and physical technologies in “an excavation of the resonance possibilities of his own body” (Pitchfork), imagining a post-human queer future. The compilation of him “Delta”Showcases Fountain’s global interpretation of the psyche, through the reworking, recomposition and reconstruction of the source material, projecting it through the many lenses of his colleagues and collaborators. At the heart of all these works remains a profoundly spiritual aspect. L’acceptance is, and always will be, a continuous process for Lyra, but her body will remain a tool for positive change. For her, this is the essence of devotion: a continuous process of liberation through sense and sound.
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