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	THE SERPENTA OF THE CHANT The sinuous vocal virtuosity of Diamanda Galás, The Serpenta of the Chant, closes the XXI Edition of Time Zones Palamartino di Bari- Via Napoli- venerdi, 24 novembre 2006 ore 21.30 LA STAMPA by Claudia Mastrorilli Due to personal reasons, she dropped the summer appointment at the "Experimenta 2006" in Alberobello. Diamanda Galás, brilliant artist, disquieting and frightening, has ended on a high note, yesterday, the XXI edition of Time Zones, a festival that this year (more than ever) has featured extreme experimentalisms. 27/11/2006 - On a stage with a minimalist scenography, with the inescapable grand piano in the middle, the American artist of Greek origin—sometimes called "satanic diva" for her transgressive character and for the visceral use of the voice as an instrument—has offered the large audience of Bari, a great emotional performance. The dark lady of the international musical vanguard, the "Serpenta of the Chant", has given a wide demonstration of her extraordinary vocality, endowed by an extension of 4 octaves, and of a brilliant theatricality. Her piercing voice, characterized by un-human wailing, screams, pangs, throttled laments—but nostalgic and refined, too—led us with masterly skill in an abstract dimension, in a "theatre of the mind"—characterized by strong dynamic contrasts. In her career of more than twenty years, Madame Galás (an exceptional pianist, composer and poet) has explored in her work—and now through painful love songs—the subject of cruelty. She has taken inspiration from the damned lines of Baudelaire, Corbière, Gérard de Nerval, Poe and Pasolini, and she has never let her mind wander from the real sufferer, as it is possible to see in her fight against AIDS, after the death of her beloved brother, Philip-Dmitri Galás. In a 75-minute concert, accompanied only by her grand piano—with which she establishes a symbiotic relationship, making it drone and convulsively support her vocalizations—Diamanda led us on a deep, introspective trip. The sometimes so-called "goth Callas" (for her Hellenic origin and for the timbral flexibility of her voice) has, for the tour "GUILTY x3", gotten inspiration from the blues (with a hint of gospel) and the French chanson, but with certain Arabian music traditions as well. And, she gave particular homage to Italy, with the poetry of the beloved Pier Paolo Pasolini. Diamanda opened the concert with the song “My World is Empty Without You”, a successful hit for The Supremes, the group led by Diana Ross. The show continued with an unrecognizable version of "A Soul That’s Been Abused ", a blues song by the American guitar player Ronnie Earl and with Timi Yuro’s “Time” (interlude). (Rosa Maria Timotea Aurro, the American singer of Italian origin, from the region of Molise, who in the past performed at the Italian Festival of San Remo, was known in the USA as Timi Yuro.) As a hypnotic spiral, the songs continued with Middle-Eastern amanethes, blues and spirituals influences—leading up to the wonderful version of Marlene Dietrich’s, "Moi, je m’ennuie"—sung in faultless French—and the waltz inspired by Pier Paolo Pasolini’s, "Supplica a Mia Madre" (taken from “Poesia in Forma di Rosa”). The concert continued with great audience enthusiasm for a be-bop version of “Autumn Leaves” and Edith Piaf’s “Padam Padam”—the last song in the list before the two encores, one of which was “Why Don’t You Do Right”, recorded by Peggy Lee and Aretha Franklin.

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THE SERPENTA OF THE CHANT

The sinuous vocal virtuosity of Diamanda Galás,

The Serpenta of the Chant, closes the XXI Edition of Time Zones

Palamartino di Bari- Via Napoli- venerdi, 24 novembre 2006 ore 21.30

LA STAMPA

by Claudia Mastrorilli

Due to personal reasons, she dropped the summer appointment at the "Experimenta 2006" in Alberobello. Diamanda Galás, brilliant artist, disquieting and frightening, has ended on a high note, yesterday, the XXI edition of Time Zones, a festival that this year (more than ever) has featured extreme experimentalisms.

27/11/2006 - On a stage with a minimalist scenography, with the inescapable grand piano in the middle, the American artist of Greek origin—sometimes called "satanic diva" for her transgressive character and for the visceral use of the voice as an instrument—has offered the large audience of Bari, a great emotional performance.

The dark lady of the international musical vanguard, the "Serpenta of the Chant", has given a wide demonstration of her extraordinary vocality, endowed by an extension of 4 octaves, and of a brilliant theatricality.

Her piercing voice, characterized by un-human wailing, screams, pangs, throttled laments—but nostalgic and refined, too—led us with masterly skill in an abstract dimension, in a "theatre of the mind"—characterized by strong dynamic contrasts.

In her career of more than twenty years, Madame Galás (an exceptional pianist, composer and poet) has explored in her work—and now through painful love songs—the subject of cruelty.

She has taken inspiration from the damned lines of Baudelaire, Corbière, Gérard de Nerval, Poe and Pasolini, and she has never let her mind wander from the real sufferer, as it is possible to see in her fight against AIDS, after the death of her beloved brother, Philip-Dmitri Galás.

In a 75-minute concert, accompanied only by her grand piano—with which she establishes a symbiotic relationship, making it drone and convulsively support her vocalizations—Diamanda led us on a deep, introspective trip.

The sometimes so-called "goth Callas" (for her Hellenic origin and for the timbral flexibility of her voice) has, for the tour "GUILTY x3", gotten inspiration from the blues (with a hint of gospel) and the French chanson, but with certain Arabian music traditions as well. And, she gave particular homage to Italy, with the poetry of the beloved Pier Paolo Pasolini.

Diamanda opened the concert with the song “My World is Empty Without You”, a successful hit for The Supremes, the group led by Diana Ross. The show continued with an unrecognizable version of "A Soul That’s Been Abused ", a blues song by the American guitar player Ronnie Earl and with Timi Yuro’s “Time” (interlude). (Rosa Maria Timotea Aurro, the American singer of Italian origin, from the region of Molise, who in the past performed at the Italian Festival of San Remo, was known in the USA as Timi Yuro.)

As a hypnotic spiral, the songs continued with Middle-Eastern amanethes, blues and spirituals influences—leading up to the wonderful version of Marlene Dietrich’s, "Moi, je m’ennuie"—sung in faultless French—and the waltz inspired by Pier Paolo Pasolini’s, "Supplica a Mia Madre" (taken from “Poesia in Forma di Rosa”).

The concert continued with great audience enthusiasm for a be-bop version of “Autumn Leaves” and Edith Piaf’s “Padam Padam”—the last song in the list before the two encores, one of which was “Why Don’t You Do Right”, recorded by Peggy Lee and Aretha Franklin.