VI.BE

opia

''n. the ambiguous intensity of looking someone in the eye, which can feel simultaneously invasive and vulnerable'' [John Koenig, The Dictionary of Obscure Sorrows]

The Opia Ensemble was formed in 2014 by the Polish cellist Aleksandra Pykacz and the Romanian pianist Ioana Mandrescu, who met during their studies at the Koninklijk Conservatorium in Brussels. Although they have started their collaboration as a traditional duo, playing mostly classical and romantic music, they have swiftly shifted to other styles. They became a versatile, flexible ensemble, that devotes its attention to a multitude of genres, from classical to classical contemporary music, through jazz improvisation and even a gentle touch of pop, seeking collaborations not only with other musicians but also with dancers, actors, visual artists, architects. Withdrawing from the fact that they come from two different countries, and they met in Brussels, being the most cosmopolitan city in Europe, their music reflects the diversity of their interests.

Their repertory includes, apart from the works of Beethoven, Brahms, Franck, or Shostakovich, pieces by Elliot Carter, Jacqueline Fontyn, Dariusz Przybylski, Erkki Sven Tuur, Toru Takemitsu, Morton Feldman, Kaija Saariaho and other contemporary composers.

The ensamble is also interested in commissioning new works from young composers, believing in supporting new ideas.

For the next year the Opia Ensable is working on a project with several other musicians and Polish artist Gabriela Nasfeter. The performance is intended to be a hommage to Estonian composer Erkki Sven Tuur.

Following Ioana's initiative of collaborating with visual artists for a Morton Feldman performance in Bozar earlier this year, the Opia ensemble is working on creating a fusion between film, music and pantomime for a performance of Morton Feldman's Patterns in a Chromatic Field which will take place in Bucharest and Gdansk.