In Kara-Lis Coverdale’s music, synthesisers coexist with piano and church organs, blurring the boundaries (real and imagined) between acoustic and electronic.
At the beginning of 2025, the Canadian artist returns to Braga – where she already played in 2020 – for a special concert at the gnration, preceded by an artistic residency on the pipe organ of the Basílica dos Congregados, the results of which will be revealed in the Braga 25 Opening Programme (p. XX).
With a new work in the bag, he is presenting to the public for the first time a series of new piano compositions, written in a rural studio in Valens, Canada, in deep communion with the night and winter.