{"id":24668,"date":"2026-07-01T11:45:20","date_gmt":"2026-07-01T09:45:20","guid":{"rendered":"https:\/\/www.neukoellneroper.de\/?post_type=play&p=24668"},"modified":"2026-09-30T10:58:17","modified_gmt":"2026-09-30T08:58:17","slug":"vox-humana","status":"publish","type":"play","link":"https:\/\/www.neukoellneroper.de\/en\/performance\/vox-humana\/","title":{"rendered":"VOX HUMANA"},"content":{"rendered":"\n
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\u00a9 Marichka Shtyrbulova<\/figcaption><\/figure>\n\n\n\n
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Eurovision, metal, Ukrainian folk songs, vocal experiments. Opera, obviously. The Ukrainian musical theater group Opera Aperta takes the audience on a roller-coaster ride of emotions, one loop after another\u2014from a Eurovision hit to a metal song, from a traditional Ukrainian folk song to an experimental vocal exercise; laughter follows tears, goosebumps follow a lump in the throat. Artistic and political stances meet rich, sensual, and above all entertaining theater: a state of emergency<\/p>\n<\/div>\n\n\n\n

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More<\/h2>\n\n\n\n
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\u201cWar is outside, or inside, or over.\u201d<\/em>\u202f\u2013\u202fSigna K\u00f6stler<\/p>\n\n\n\n

What can be done with the human voice? One can sing, speak, pray, heal, protest, perform a performance, an opera, or a pop hit. In the summer of 2026, Opera Aperta, a group of Ukrainian artists living under the daily threat of Russia\u2019s war of annihilation, gathers in Berlin-Neuk\u00f6lln to open the new season of the Neuk\u00f6llner Oper. As a gesture of gratitude to Germany for its political support and its air-defense systems, the Ukrainians decide to offer this country the best thing they have\u202f\u2013\u202ftheir voices\u202f\u2013\u202fand promise to prepare Germany for victory at the Eurovision Song Contest 2027 by developing a radical political hyperpop project.<\/p>\n\n\n\n

On the journey from Kyiv to Berlin, the artists enter a surreal soundscape in which the voice of Theodor Adorno, Ukrainian folk songs, and music of the interwar period blend together. The bus trip becomes a journey through time, at the end of which the travelling company finds itself in a Yiddish cabaret in Berlin in 1933 and witnesses the final meeting between the painter Charlotte Salomon and the singing teacher and psychotherapist Alfred Wolfsohn, who returned from the First World War with an acoustic trauma caused by the screams of war and cured himself through vocal exercises.<\/p>\n\n\n\n

How do you imagine war? Does war sometimes visit you in your dreams? What does war sound like? Perhaps like a scream, like silence, like hoarseness, like a choir of acoustic hallucinations? VOX HUMANA. A SINGSPIEL searches for answers, searches for answers in the form of a \u201crhizomatic theatre\u201d that constantly shifts between a workshop for extended vocal techniques, a techno ritual, a lecture on performance theory, and post-documentary theatre.<\/p>\n\n\n\n

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Team<\/h2>\n\n\n\n
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WITH <\/strong>Oleksandr Chyshii, Kateryna Hordiienko, Karolina Muzychenko, Sofiia Pavlichenko, Yuliia Vitraniuk, Marichka Styrbulova, Roman Grygoriv, Valeriia Vynogradova, Illia Razumeiko<\/p>\n\n\n\n

TEXT, THEORY AND SPACE <\/strong>Illia Razumeiko COMPOSITION AND MUSICAL DIRECTION<\/strong> Roman Grygoriv DRAMATURGY <\/strong>Marichka Styrbulova, Dennis Depta ELECTRONIC MUSIC<\/strong> Valeriia Vynogradova COSTUME <\/strong>Kateryna Markush VIDEO <\/strong>Ivanna Yakovyna CINEMATOGRAPHY AND EDITING<\/strong> Liubov Ploskonosova, Sophia Gera SOUND EDITING<\/strong> Olha Goncharenko SET & STAGE DESIGN ASSISTANT<\/strong> Marcus Barros Cardoso ASSISTANT DIRECTOR \/ PRODUCTION MANAGEMENT <\/strong>Cara Freitag PROCUCTION MANAGEMENT UKRAINE<\/strong> proto produkciia (Olia Diatel, Yulia Parysh)<\/p>\n\n\n\n

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About Opera Aperta<\/a><\/div>\n<\/div>\n\n\n\n
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<\/figure>To the Booklet<\/a><\/div>\n<\/div>\n\n\n\n
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\u00a9 Peter van Heesen<\/figcaption><\/figure>
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\u00a9 Peter van Heesen<\/figcaption><\/figure>
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\u00a9 Peter van Heesen<\/figcaption><\/figure>
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\u00a9 Peter van Heesen<\/figcaption><\/figure>
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\u00a9 Peter van Heesen<\/figcaption><\/figure><\/div>\n\n\n\n
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