defixiones reviews

Things can only get blacker

By Keith Potter

The voice is extreme, but no less than her performances. In her latest
work, Defixiones, Diamanda Galás takes on genocide.
[From 'The Wednesday Review', page 12, The Independent, 8 December 1999.]

The Greek-American singer-songwriter Diamanda Galás - whose latest show,
Defixiones, Will and Testament, comes to the Barbican on Thursday as part
of the Centre's "Only Connect" festival - has long had a reputation as the
Scream Queen. Her four- (or is it a mere three-and-a-half-?) octave voice
was classically, even operatically trained; Frank Kelly, a bel canto
specialist, was her teacher for 10 years. But, even as a student in San
Diego in the mid-Seventies, she was extending her vocal equipment to
territory Western classical music doesn't ever reach; one of her earliest
inspirations was the British soprano saxophonist Evan Parker.
Since the early Eighties, this now 44-year-old purveyor of satanic verses
has been regaling us with concerts and albums castigating hypocrisy in
Church and state, and focusing in particular upon reactions to the Aids
crisis. Galás's manner of presentation has usually, like her vocal
declamation, been extreme; her 1991 live album, Plague Mass, was recorded
in New York's Cathedral of St John the Divine with its protagonist stripped
to the waist and covered in blood.
Among my preparatory homework, gleaned from several websites, was an
interview in Terrorizer magazine: not the sort of regular reading favoured
by those of us leading more sheltered lives. Fellow journalists, too, had
warned me that this angry lady eats journalists for breakfast - though one
of them did try to reassure me by suggesting that she probably never eats
breakfast anyway. Our 11am appointment, on the day following the first New
York performance of Defixiones last week, did not inspire confidence. But
at least we were meeting in a Manhattan corner café with a good escape
route...
As it turned out, I needn't have worried. Offstage, the all-black attire
and long, flowing black hair may help to turn heads in the street. Close
up, you can read the words "We are all HIV+" tattooed on the knuckles of
her left hand; Galás, in fact, openly confesses to having had hepatitis C,
which I gather carries a similar threat. But behind the dark glasses, I
thought I caught more looks of concern for her interviewer's health and
well-being, on his 48-hour excursion to a more than usually chilly New York
City, than flashes of devilish venom.
Premièred in the appropriately lugubrious setting of Ghent's Castle,
Gravensteen in September, Defixiones (the word refers to the warnings
engraved in lead that were placed on the graves of the dead in Greece and
Asia minor) is a "song cycle for voice and piano" in several languages. It
is performed by Galás alone, moving back and forth from a single spot for
unaccompanied items to the piano, which she attacks with vigour in
occasional solos as well as accompaniments rich in allusions to a range of
styles - from blues and jazz to Western classical to the Armenian,
Anatolian Greek and Syrian cultures providing the source for several of the
work's texts, which also draw tellingly on the Belgian poet Henri Michaux.
Though often describing herself as Greek, Galás herself has Armenian,
Turkish and Syrian ancestry. Extrapolating its theme from Turkish culture
past and present, the cycle is dedicated to the forgotten victims of the
Armenian and Anatolian Greek genocides of 1915 and 1922. In performance,
Rudi Pribitzer's lighting reinforces the gloom of her subject matter; in
New York's The Kitchen ( a much smaller venue than the Barbican, which
serves to stress the intimacy of the whole experience), Galás could seem
both frail as well as feisty.
The hour-and-a-quarter show proves to be Galás's more recently familiar
mixture of her own material and music by others, which more directly
reflects the popular traditions that help determine her approach. To say
that she has calmed down now would be somewhat wide of the mark; for one
thing she says that she has always sung familiar popular repertoires -
standards and earlier jazz styles, for instance - but not, until now, on
recordings, which have been chiefly of her own material.
Galás's 1993 album Vena Cava, and the 1994 Sporting Life, her more overtly
rock collaboration with John Paul Jones, do suggest a more popular
approach. Yet only a couple of years later Schrei X was, as she puts it, "a
pretty extreme record". And any suggestion that she is narrowing her
options, or even content just with the "extended vocal techniques", is
forcefully opposed. "I work in parallel ways. If you sing a blues by John
Lee Hooker, and suddenly you're just imposing a set of 'vocal techniques'
in the middle of the piece that has nothing to do with it, that's absurd
musically." She is also scarcely suited temperamentally to staying in the
sound laboratory where she first - very secretively, which is surprising -
experimented with her voice. "My raison d'être is singing, is music," she
insists. Some of the songs in Defixiones she describes as "cabaristic, in
that Brechtian-Weill sense".
The prevailing theme of exile is reflected in Defixiones in a wide variety
of poetic sources and styles. The interleaving of texts by the Armenian
poet Siamanto and the Syrian poet Adonis, which opens the work, powerfully
integrates solo and accompanied vocal lines, including a liturgical melody
("Ter Voghormia" by Marar Yekmalian), with recitation and some highly
unsettling drones on tape. The affectingly simple repetitions and
ululations of her arrangement of Ornette Coleman's "Lonely Woman" offer
some respite between the obsessive low monotone of Galás's own "Birds of
Death" and Hooker's "Burning Hell"; the latter is faster, jazzier and
infiltrated by tape delays applied both to vocals and to piano (courtesy of
Blaise Dupuy's "sound design").
The two Greek Rembetika songs included were made famous earlier in the
century by Sotiria Bellou, a lesbian who added a new dimension to the
defiant but misogynistic Rembetika tradition of her time. This was, Galás
says, "ethnically cleansed" during the Papadopoulos regime, but has just
recently been revived  - by Bellou's powerful, low voice and
confrontational manner. (Galás describes her as "real scary-looking", so
you can bet that Bellou would have most of us running.)
The exiled visionary Peruvian poet César Vallejo inspires some wild
keyboard outbursts, including pitch-bending and overlays, as well as a
vocal line of chilling lyric impact. The screaming and the multiphonics
emerge only occasionally, made all the more powerful by their contrast to
the unhinged mayhem that has preceded them. Galás's version of the
well-known Negro spiritual "Let My People Go" - familiar, like her own
"Birds of Death", from her 1988 album You Must Be Certain of the Devil -
concludes Defixiones with a kind of built-in encore. "It's just," she says
disarmingly, "an old song that everyone knows"; and it fits the exile theme
perfectly.
Galás currently seems to be further expanding her range in Nekropolis, an
opera on which she is currently working. A development out of both the
Plague Mass and Insekta projects this may be premièred in 2001. Though
unwilling to divulge much information about it, she says that this work -
which she hopes will include a larger ensemble than she's ever used before
- extends the idea of the City of the Dead to deal "with populations that
have been hidden from main society, like severely retarded individuals,
forsaken by their families, who have been made available for research".

[A photograph of DG, with gorgeous pink eye shadow and hair swirling around
her at the mic accompanies this article and is captioned 'Diamanda Galás at
the microphone in all her gothic glory'.]