Joint project of the vocal ensemble Alter Ratio and Victoriia Vitrenko.

Choreography is an original vocal and choreographic performance to the music of Ukrainian composer Sviatoslav Lunyov, in which the language of dance is born through the interaction with vocal and ensemble singing techniques.

Artistic director and producer of the project
—Olga Prykhodko

Meredith Monk
A Celebration Service

Joint Ukrainian-American project by vocal ensemble Alter Ratio and Meredith Monk / The House Foundation for the Arts.
The project was supported by the United States Embassy in Ukraine on the occasion of the 25th anniversary of diplomatic relations.

The vocal and choreographic performance A Celebration Service reproduces a unique atmosphere of combining the spiritual and the physical through the connection of singing, dancing and the play of light and shadow. This journey into the world of spiritual traditions of different cultures is unlimited in time. In this "holiday service", written in 1999 before the new millennium, Meredith Monk combines singing and singing, dancing and reading from Buddhist texts, Hasidic sayings, Zen poetry and Christian prayer.

The international format of the project made possible the joint staging of the performance, the exchange of experience between American and Ukrainian artists. The collaboration was joined by director Tom Bogdan and choreographer Allison Easter, who are members of Meredith Monk / The House Foundation for the Art and Meredith Monk`s Vocal Ensemble. The project involved leading Ukrainian artists in the field of contemporary art: Vocal Ensemble Alter Ratio (artistic director—Olga Prykhodko), Sed Contra Ensemble (artistic director—Andriy Merhel), jazz singer Nazgul Shukaeva, light artist and set designer Dmytro Kostyuminsky, video artist Alina Fedotova.

Musical-theatrical performance based on David Lang's «The little match girl passion»

Project by the vocal ensemble Alter Ratio with the participation of director Dmitry Kostiyminskyi.

Performance strangely intertwines horror and beauty. The main heroine is a girl, she goes the way of total lack of money of the family, bullying of her peers, incest and father’s violence. Going an unbearable path to the desired life, she dies from cold, drug overdose and indifference of the surrounding society. The dance appears here both at the level of modern plastics and in the rhythm of the vocal line. And in it rejection is no less than the desire for unity. "In this performance we do not play, we do not depict. We are ourselves, we are each of you. This Passion for indifference, for cynicism and loneliness in society "
David Lang: «I wanted to tell a story. A special story: the story of a girl with matches of Danish writer Hans Christian Andersen. It's like a kid's tale. As in many famous stories for children, there is a shocking mixture in it: a terrible plot and moral. The poor little girl who is beaten by her father on the eve of the New Year unsuccessfully tries to sell matches on the street, nobody pays attention to her, and she dies from the cold on the last evening of the old year. On this path, she somehow preserves the Christian purity of the spirit». 

David Lang equated the suffering of the freezing girl to Christ. By combining Hans Andersen's fairytale girl with matches with the church genre, he brought her thinking to a new level—comprehensive, humane, painful, social and super-actual.

Visionaries of Sound

Steve Reich / US "Proverb" based on the texts of Ludwig Wittgenstein, for five voices, two vibraphones and two electric organs (* Ukrainian premiere)

Maxim Kolomiiets / UA "Gli sguardi pigri" based on the text by Tristan Tzar from the opera "Espenbaum" (Osokore) (2003/2018), for female ensemble a cappella

Anna Korsun / UA / DE Landscapes (2014), for five votes

Oleksiy Retinsky / UA / AT (born 1986, Ukraine) suite from the play "Iphigenia in Tauris" on the texts of the ancient tragedy of Euripides (2015), for female voices and percussion instruments
Maxim Shalygin / UA / NL "Oil upon your shore", the text based on the libretto by Charles Genens of the oratorio GF Handel "Israel in Egypt" (2019), for the choir a cappella (* Ukrainian prem 'era)

Beat Furrer / AT / CH "Enigma" on lyrics by Leonardo da Vinci (2006/2015), for choir (* Ukrainian premiere)

Alfred Schnittke / RU Concerto for choir a cappella based on lyrics by Grigor of Narik.

The Visionaries of Sound project is dedicated to the decade of founding vocal ensemble Alter Ratio. The concert program is based on the main creative credo of the group—promoting the new Ukrainian and European vocal, ensemble and choral music. The concert program includes premieres of both young Ukrainian composers and leading composers of contemporary European and American music.

One of the motives that unites all the works in the program are allusions or very specific "mentions" of different historical epochs. Steve Reich's Proverb, as he said, is the result of a study of the work of Perotin and representatives of the Notre Dame school; Beat Furrer`s works «Enigma» voiced the prophecies of Leonardo da Vinci; Alexei Retinsky wrote works on the original ancient Greek text of the tragedy of Euripides, using reconstructed modes of ancient Greek music.

Each of these works in one way or another "expands" the possibilities of the human voice and gives the choral sound of supernatural qualities. Anna Korsun went the furthest in her work Landscapes—she used an incredible palette of extended vocal techniques. In Maxim Kolomiiets`s and Maxim Shalygin`s works harmonious and timbre techniques make the vocal ensemble sound like various instruments, or an orchestra, or create the illusion of electronic sound.

Iphigenia in Tauris.
Bride for terrorist

Project by Dmytro Kostyuminsky, with the participation of the vocal ensemble Alter Ratio.

Director—Dmitry Kostiumynskyi (with Igor Aronov)
Set design—Dmitry Kostiumynskyi 
Text—Euripides (adapting Dmitry Kostiumynskyi) translated Innocentyi Anenskyi
Music and Live electronic—Alex Retynskyi
Voice—Nazgul Shukayeva
Chorus—Vocal Ensemble Alter Ratio under the direction of Olga Prykhodko
Percussion—Elena Shabelska

Stage play with prologue, three acts and seven scenes. Stage play is performed in Russian language.

Iphigenia, the victim. Iphigenia, the priestess. Iphigenia, the loving sister. The classic tragedy of Euripides re-thought and adapted to contemporary reality is laid in the plot of the stage play. 

Old Greece tragedy crosses the dimension of modernity and became actual today. For many centuries the works of Euripides inclines humankind to dialog between different social categories, try to mend relations in society, balance its structure on basis of democracy principles.

Stage play reflects relations of Ukraine that is on stage of creation of its independence and states that hold dominating position on global arena. Place of events is Tauris, contemporary Crimea. Total globalization of the world, both informative and economic, comes to decadence that leads to fight of the system with itself and occurrence of new and new world and civil conflicts.

For solving of the problem it is necessary to make a sacrifice. In given historical era the development of idea of radical Islamism, born in fact from the system itself, could not have come in better time. And this is the reason why Islamism received a label of global terrorism that should be fought against.

In era of global fight, change of social system and geo-political redistribution of existing borders, Iphigenia stands on block-post of disappearing world. She’s bewildered, unable to understand her inner voice. She’s hesitating about worthiness of future act, should she sacrifice herself and her motherland. «Terroristic hypothesis lays in the fact that system has to kill itself in answer to a range of deaths—challenges. Because neither system, nor power is able to avoid the symbolical need, and this is the only chance to ruin them.» Jean Baudrillard.

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