Nina Baietta

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A musician with a very personal world of sound and an open approach to stylistic boundaries, she frequents different musical fields. He trained as a jazz singer at the Rovigo conservatory with Alessia Obino and Chiara Pancaldi, also specializing through numerous masterclasses (Umbria Jazz Clinics, Nuoro Jazz, “Tabula Rasa” by Stefano Battaglia at the Accademia Chigiana, “Forme Sonore” by Roberto Dani, Masterclass by Marco Colonna). She was selected for several artistic residencies: Scholarship from the Cini Foundation of Venice (as an improviser and composer) for the artistic residency Workshop Research-led Performance “Istantanee” with Evan Parker and Giancarlo Schiaffini (2020). SIAE announcement For those who create – Sound Perspectives (as a composer) for the artistic residency at the Teatro Luigi Bon in Udine with Alvin Curran and David Monacchi (2021); ISAR artistic residency scholarship with the Blue Ring Improvisers association (2021); scholarship for Tempo Reale workshops in Florence with Luigi Ceccarelli (2021). A particular interest in contemporary music leads her to collaborate with the composer Giovanni Mancuso in several productions: “Il Ritorno dei Chironomidi” (2016) at the Teatro Malibran in Venice; “Atlas 101” (2017), on stage at the Teatro Comunale of Treviso; “I Campi Magnetici” (2019) on stage at the Padua Art Center. She performs in various events and festivals: Venice Biennale, Padua Art Center, TEDxVicenza with DOOOM Orchestra, Musica Al Argo (VE), Venetian Research and Innovation District, A Love Supreme Impro Festival (PD), Tempo Reale (FI), TM Festival (PD), Yucca Fest PD), Irruzioni Festival (PD), Voci Sparse (VE), Piedicavallo Festival, Meeting Gardens Festival (VI). Since 2018 she has been the singer of the improvisation orchestra DOOOM Orchestra, founded by Francesco Cigana.
She is the author of extremely suggestive works created with different languages and forms. A fundamental part of his research is the vocal solo, due to its strong hybrid nature, halfway between writing, performance and improvisation. Some of the compositions are: “Voix Humaine” (2019) for voice, loop station and rotary telephone; “Peraules” (2021) for voice, fixed media and small ensemble (piano, violin, harp, clarinet, vibraphone) commissioned by Prospettive Sonore; “Indra’s ear” (2022) for prepared piano voice and electronics, “Lo Zio Acquatico” (2023) for piano voice and electronics, commissioned this year by the pianist composer Carolina Cury, performed at the New Lights Contemporary Piano Festival in London