Singer and performer Daniela Bernoulli
Guest actrice Carmen Nicolay
Scenography Wikke van Houwelingen 
Pianist Dorine Diemer 
Staging Gable Roelofsen en Romy Roelofsen 

Premiere: march 2009

Olivier Messiaen composed Harawi as an oath to his first wife. Because of a mental disease she slowly drifted away. In the music, his love and devotion is tangible. But at the same time you hear the impossibility to really make contact, to really know your loved one and fathom inner worlds. With Harawi he says goodbye and writes his version of Tristan und Isolde: the mythical, dramatical and fatal love. Wagners opera lasts about five hours, but Olivier Messiaen tells his abstract version of this archetypal story in less than an hour.  

We present a special concert version of Olivier Messiaen’s Harawi. Together with scenographer Wikke van Houwelingen, pianist Dorine Diemer, guest actrice Carmen Nicolay and of course with Daniela Bernoulli we created a visual, theatrical concert in which the inner world of our visitors was upside down. 

This performance is part of the series 'Fremdkörper': a series of theatrical investigations into how we deal with the strange inside ourselves and the strange in the other. 

Audience reactions and reviews
Kaatje Lomme, student cultural science:
Since may 2008 I saw three performances of Het Geluid: L’Intrus, Kibuye and Traviata is a ready made. A typical performance of Het Geluid contains two elements. Firstly, the performance shows the audience a reality of our own existence. A reality we deal with every day, but we don't always consciously register. The name says it all: Het Geluid (The Sound) makes us pause and listen to sounds we would normally hear in the background but wouldn't really register consciously. Although there is always an idea behind the show, there audience is never imposed an opinion or solution. They show a certain ambiguity or complexity that an audience then relates to. Secondly, Het Geluid always plays with the position of its audience. Because no simple solution is given our detached story being shown, I feel addressed to personally and individually. I feel an almost physical tension. There is no way to escape from what is happening in front of you. There is no way of not feeling addressed to and not wondering about your own position in the complexities that are developing in front of you.