Throughout the period of 1958 to 2002, the avant-garde Italian composer Luciano Berio created a series of virtuoso works for solo instruments under the name Sequenza. The third one of this series, Sequenza III per voce femminile (1965-66), was dedicated to expanding the existing vocabulary of what was previously thought as the expressive and technical constraints of the voice —the female voice more precisely.

[A sequence III] proposes a space where Berio's traditional directive concerning who should interpret the work and how it should be executed is reconsidered. In this space, it is the figure of the Drag Queen who offers an alternative look to the standardization of score interpretations incited by the academic community and lends an aspirational guise to the question of inhabiting, performing, and mistaking the score.

Decoratelier, Rue de Liverpool 24, 1080 Molenbeek-St-Jean

ATTENTION: this show has pitch-dark and very loud moments