Programmes

Programmes

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Programmes

Georgette has different programs on offer, in which she alternates alto and soprano saxophone with vocals and sometimes also flute. All programs can be performed with different band formations, specifically as

  • duo, with piano or bandoneon
  • trio, with piano and double-bass
  • quartet, with piano, double-bass and drums
  • quintet, with piano, double-bass, drums and e.g. trumpet

Georgette delivers a polished presentation and an appealing programme. It goes without saying that the program will be tailored to the occasion, the audience and the location.

Styles

Made-to-measure

Music is a key determining factor for the success of a party or function. You may indeed have very specific requirements or preferences. Georgette is perfectly happy to work with you on a made-to-measure program. A cooperative programme with other artists is also possible.

Muziektheater Mezzaluna

Mezzaluna is Georgette’s first one-woman show read more >

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Styles

Styles

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French chansons

Georgette has a warm voice, whereby particularly the lower register is striking. Her timbre fits French songs, the “chansons” very well. Because she masters the French language Georgette is able to give these songs the desired depth and emotional tension. Vocals alternate with instrumentals to form a spell-binding combination that deeply touches the audience.

Tango

Tango music has always had a special appeal to Georgette. Tango means passion, life itself… The lyrics of tango songs are poetic and full of drama. Georgette loves prose and poetry and gives these songs a life of their own.

The well-known tango classics and, of course, the beautiful compositions by Astor Piazzolla and Eladia Blazquez are part and parcel to this program.

Jazz

Well- and lesser known jazz music comes to the audience in a variety of ways: standards, blues, jazzwaltzes or bossa nova, Latin jazz or a pop song make up the playlist of the jazz program. Of course Georgette’s main instrument in this program is the saxophone, although she may also sing some pieces.

It is always possible to change the mix of vocal and instrumental pieces.

Mezzaluna

Mezzaluna is Georgette’s first one-woman show and carries the sub-title “Farewell and Longing”. This powerful show can also be performed with piano accompaniment. In Mezzaluna Georgette weaves her passion of the theatrical arts into her own story about love, longing and farewell. With music and dance she invites her audience to discover a wide emotional palette. read more >

DJ plus saxophone

You have a party with dj and you’re still looking for something more? Georgette gives it the finishing touch with her saxophone solos. Works very well for fashion shows, too.

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Mezzaluna

Mezzaluna

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fot_opleiding

The basic idea underlying Mezzaluna was developed by Georgette herself and stage-director Kevin Crawford and taken further in cooperation with director Tim Hammer and dancer Isolde Kanikani.
Mezzaluna was performed in France, Italy, the Netherlands and Switzerland.

Mezzaluna (music theatre)

Mezzaluna is Georgette’s first one-woman show and carries the sub-title “Farewell and Longing”. The audience is drawn into a genuine story about the role of love in life. It is an intimate and subdued program, while sometimes also effusive and cheerful. Through music, song and dance Georgette tells a beautiful tale full of emotion and passion.

This is what director Crawford had to say about Mezzaluna:

“Is Georgette a musician, a dancer, a singer, an actress? Yes, she is all of this but more importantly she is a poetess, a spinner of soundscapes, weaving words and fleeting visual images.

She delves into her treasure chest of instruments, songs and memories to throw up flashes of stories like gleaming nuggets. She embodies metaphors and makes them tangible to the public: she is both an alive presence and a repository of echos from a past that reaches out to a future. As she unveils the contents of this treasure chest, we allow ourselves to relinquish a logical understanding of events and trust to the intuitive meanderings of the performance. She leads us like the Piper of Hamelin but we are not seduced or hypnotised. Rather we coalesce with its shifting sands, and, like Proteus, submit gently to its metamorphoses. Georgette’s playing spans a range of styles, she communicates through a variety of skills: she straddles the ground between song and instrument, between the veracity of the word and the frivolity of the dance. We watch and listen, enthralled, as she combines the detachment of the composer with the closeness of the story-teller.”

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