It’s nearly two decades since Welsh vocalist/multimedia artist Deborah Claire Procter, now based in Argentina, last performed in the UK.
She’ll be performing with composer/pianist Oscar Edelstein in a new show “Bitácoras” at The Space, Isle of Dogs in London… “a fusion of music, image and technology” which “invites listeners to a deeper introspection.” London dates are 28 and 29 March at 8pm and Sunday 30 March at 4pm with further UK dates to follow – (list below).
UK Jazz News: You’re from the Land of Song but I understand there is theatre strongly in your background too?
Deborah Claire Proctor: I studied drama at Exeter University – a course that was totally unique with only 13 of us and an emphasis on figures like Grotowski, Living Theatre Theatre, Peter Brook, Joan Littlewood etc. It was like being in an ensemble for three years and gave me such a taste for the experimental and the burning question “why theatre?” – it could be argued that film can tell a story better. This led to a masters in Fine Art at the Time Based department of Cardiff School of the Arts.
UKJN: And tell us about Oscar...
DCP: I could try to sum-up his career in two words: cutting-edge and dialogue – two things that don’t always go together.
For all other definitions AI would have you the answer! He’s written operas, music for theatre, dance, and his ensemble, Ensemble Nacional de Sur (ENS).
Dialogue between the organic and electronic, the traditional and contemporary, science and art – it’s why critics make comparison with Varèse, Zappa, King Crimson or Piazzolla… His music is always in relation to something, some-one – it is never static, and that is what makes audiences sit-up. His compositions often address social and philosophical themes. It’s why he’s often described as leading the avant-garde from Latin America.
Strangely his audiences cross age-groups and social classes – I’ve seen a man of 25 years old and a 75 year old woman moved to tears. Both couldn’t explain why. And they weren’t tears of despair – more so the kind of emotion when words run out and you are left with a sense of profundity.
UKJN: You are based in Buenos Aires which usually makes people think of tango… but there’s a lot more than that to the culture, right ?
DCP: Tango is the music of the big cities and Buenos Ares. Each province have their own musical styles. For Oscar that meant the music of the Littoral such as chamamé and is why he recorded with notable accordionist Raúl Barboza. Or there is chacarera, made famous internationally by folk singer Mercedes Sosa, or the songs of “Cuchi” Leguizamón popularized by Dúo Salteño.
UKJN: You have been able get to know Argentina from close up. What are your strongest impressions about the people?
DCP: First I’d need to give you a lesson in Argentinean history of the last 75 years, then I’d need to explain the relationships with all the other Latin American countries, then before you know it I’d be talking about Christopher Colon and the Conquistadores. There’s a determination that impresses. A resilience that’s incredible. A questioning spirit – as if the paint is never dry on democracy. That creates a population that are un-easy and restless which in turn is what has led to Argentina have such a strong public universities. It keeps you on your toes and in Oscar’s case it’s a passion for experimentation and desire to inspire others.
UKJN : What does the show you will bring to London consist of?
DCP: It’s a piece for piano, voice and tapes where the theatrical idea is vital as in-line with Oscar’s concept of “Acoustic Theatre.” Both Oscar and I are interested in the total experience of the audience by often incorporating visual elements to enhance the audience’s perception. This fusion of music, image and technology invites listeners to a deeper introspection. Exploring themes such as memory and identity, whilst using music as a medium to address existential questions is captivating – not in a heavy sense. It’s an invitation to the listener to reflect positively on their own experience.
UKJN : You’ve been compared to Cathy Berberian and Lauren Newton… is that fair?
DCP: No comparisons are fair on either side. Argentinean music critics have been generous, but what I love is that Jorge Garcia, who is a well-known jazz reviewer in Buenos Aires writing for the film magazine “El Amante” (The Lover) and who has been to practically every single jazz or near to jazz concert in town, makes the perfect triangle between three musical worlds. Neither Berberian or Newton were on my map – apart from playing the flute until my 30’s – theatre was my thing. Now I see the connections and feel in good company in this exploration of the extended range of the voice.
My mother was my first voice teacher. She trained at The Guildhall. I would practice poems for the school Eisteddfod or Trinity College London external exams. My father was trumpeter in the BBC Welsh Symphony (now NOW). So my ears are full of classical music, Miles Davis, with then “Under Milk Wood” in my veins, mixed with Billie Whitelaw in Beckett’s “Happy Days”, and Julie Covington singing “Evita.”
UKJN: How has your art changed since you were last here, at the Bolivar Hall in 2006?!
DCP: I’ve been performing with the ENS in key venues of Buenos Aires – Sala Caras y Caretas, Centro Cultural Nestor Kirchner, Auditorio Borges, Teatro San Martín, La Trastienda, and many more. I’ve made videos for “El Caballo Fantasma” and “La Carta Imaginaria” – two operas of Oscar for the Latin American Contemporary Opera Cycle, and worked wth him and physicist Manuel Eguia on “The Sonic Crystal Room” at Universidad de Quilmes. I’m more intrigued than ever by “sound in space.” Also Covid demanded new levels of communication. I began teaching presentation skills online. Then the whole moment of the murder of George Floyd brought to the surface more tests and self-examination. All this made me stronger as an artist.
UKJN: Tell us about the venue you will be performing in?
DCP: Formerly St Paul’s church built around 1856 was then restored by locals in 1989 to create a venue. Project Director, Robert Richardson who had music interests from jazz to new music, was a big part of the success and the purchase of a Concert Grand. With a new interim team led by Matthew Jameson, and with supportive patrons such as Sir Ian McKellen, The Space hand-picks innovative shows and particularly want to return to music programming.
UKJN: And the fact that it is near docks resonates with you?
DCP: We both have strong connection to rivers – Wales is completely interlaced by them and for Oscar his childhood was spent on the banks of the Paraná swimming and skiing in a river that flows all the way down to Argentina from Brazil.
Water simply is poetic – and I love the idea that you can travel down river on the Thames Clipper from Waterloo pier via Embankment, London Bridge, and on to Masthouse Terrace Pier, walk for five minutes to be immersed in a new dimension to time and space.
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Tour Dates – for full list follow link below
28,29, 30 March – The Space, Isle Of Dogs – The theatre has a “pay what you choose” policy, to foster accessibility.
05 April Theatre Royal Dumfries
16 April The Tolbooth Stirling
19 April Aberdeen Arts Centre
23 April Alnwick Playhouse, Almouth
03 May – South Hill Park, Bracknell
