2023-12-08 15:40:34
The performance of the Threepenny Opera at the Théâtre de l’Archevêché, in Aix-en-Provence (Bouches-du-Rhône), July 14, 2023. VINCENT BEAUME
This December 8, the Aix-en-Provence Festival (Bouches-du-Rhône) did not break the tradition which requires it to unveil its summer productions in winter. From July 3 to 23, 2024, the event will offer 35 opera evenings and 13 concerts and recitals – or 48 curtain raisers – around 5 opera productions (with a world premiere) and 2 operas in concert version.
Musical theater, an invariant of the line defended by the director of the festival, Pierre Audi, since he took office in 2019, will also be there with two original proposals. “I really believe in the dynamic created by these small formats, he says. It is a fiery crucible in which to experiment with new structures, which will then be developed into larger forms. »
We can judge with a show directed by Barrie Kosky. Titled Songs and Fragmentsit compares the Eight Songs of The Made King Peter Maxwell Davies et al Kafka Fragments by György Kurtag. But also, via a return to the Luma Foundation in Arles – this year, no Vitrolles Stadium –, with The Great Yes The Great No created around the concept of negritude by William Kentridge and the South African composer Nhlanhla Mahlangu, which will be backed by an exhibition.
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Pierre Audi has never hidden his love for French opera, readily expressing his incomprehension towards many of our compatriots incapable of appreciating their musical heritage. The 76th edition of the festival, which includes five works in French, will open in style with a spectacular double by Gluck, Iphigenia in Aulide et Iphigenia in Tauride. In charge of the stage, the Russian Dmitri Tcherniakov: four and a half hours of music defended by an ad hoc cast, the two title roles performed by Corinne Winters alone, under the direction of Emmanuelle Haïm at the head of her ensemble Le Concert d ‘Astraea.
Cherry on the mochi
Always with this in mind ” blue White Red “ (dixit Pierre Audi), the Samson “lost” by Jean-Philippe Rameau, freely recreated from Voltaire’s censored text and Rameau’s unpublished score, partly recycled in later works. A meticulous work carried out by the director Claus Guth and the conductor Raphaël Pichon, founder of the aptly named Ensemble Pygmalion.
The resumption of Pelléas and Mélisande by Debussy in Katie Mitchell’s feminist production (the opera is seen through the eyes of Mélisande) will close this French journey, the Finnish conductor Susanna Mälkki succeeding her compatriot Esa-Pekka Salonen, in the pit in 2016.
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