The biggest challenge for both of them was to develop a piece with an electronic device as second performer on stage.
Sharma who has written several papers proving the instrumentality of the IKO and its ways of orchestrating space, was now confronted with a task which could nihilate everything he found out within one performance. But the contrary happened. Already in their first session Susanne Fröhlich got the feeling of playing chamber music, perceiving the IKO not as a usual loudspeaker, but rather as a colleague and partner on stage. This was only possible due to Sharma’s expertise on how to perform with the IKO as well as his ideas and openness to bring the IKO into context with another live-performer, understanding both instruments as sound projectors that make sound spatially tangible.
During their working process they got more and more aware of how and how much the Helder-Jahn Tenor can interact with the IKO. What felt first as a complete reduction of Fröhlich’s physical presence, turned out to reach the maximum concentration and optimum balance in presence and sound quality of both performers, of course depending on the scene and dramaturgy. They for example realized as soon as the IKO starts to make a lot of movement on stage, the physical body can allow itself to movements as well, but always in relation to the IKO.
This had also a great impact on the placements of the body on stage.
They were experimenting a lot with transitions from one section to the other, thus from position to position.
At the end Sharma and Fröhlich choreographed the whole piece following the dramaturgy of the music, creating an overall sensual experience. The next challenge was then to dare taking freedom and risks again, to make every performance a unique event, no show being alike.