François Gremaud
Carmen.
© Carmen., François Gremaud © Dorothée Thébert Filliger ©
© Carmen., François Gremaud © Dorothée Thébert Filliger ©
© Carmen., François Gremaud © Dorothée Thébert Filliger ©
Concept and direction, François Gremaud
Performer, Rosemary Standley
Music, Luca Antignani, d’après Georges Bizet
Musicians alternating Laurène Dif, Christel Sautaux, Tjasha Gafner, Célia Perrard, Héléna Macherel, Irène Poma, Sandra Borges Ariosa, Anastassia Lindeberg, Bera Romairone, Sara Zazo Romero
Text, François Gremaud, based on Henri Meilhac and Ludovic Halévy
Assistant dramaturgical and music, Benjamin Athanase
Assistant director Emeric Cheseaux
Tour manager, Diane Albasini et Ermeric Chesseaux
Technical direction 2b company & light creation, Stéphane Gattoni – Zinzoline
General manager and lighting in tour, Jean-Pierre Potvliege
Sound, Anne Laurin
Collaboration costume, Anne-Patrick Van Brée
Administration, production, diffusion, Noémie Doutreleau and Michaël Monney
Produced by 2b company
Coproduced Théâtre de Vidy-Lausanne; ThéâtredelaCité – CDN Toulouse Occitanie; Printemps des comédiens, Montpellier; Espace 1789, Saint-Ouen; Espace Jean Legendre – Théâtre de Compiègne; Spectacle accueilli en résidence au TNB, Rennes
With the support of Loterie Romande; Fondation Leenaards; Ernst Göhner Stiftung; Fondation suisse des artistes interprètes SIS
La 2b company is the beneficiary of a Contrat de Confiance from the City of Lausanne and a Convention de Subsvention from the Canton of Vaud.
The Théâtre de la Ville-Paris and the Festival d'Automne à Paris co-produce this performance.
Carmen. is not Carmen : Carmen. is a piece which is acted and sung and which talks about Carmen, the most widely performed tragi-comic opera in the world. François Gremaud has re-written for Rosemary Standley and five musicians a tailor-made, reduced version of Bizet’s work. In a joyful way, the singer embodies that thing which provokes chaos and results in action: freedom.
Alone onstage, an orator recounts Carmen, the context of its creation, its fable and echoes with today’s world. A trained opera singer, Rosemary Standley, singer with the groups Moriarty and Birds on a Wire, is equally at home interpreting American folk as she is to maloya. She is this orator who, carried away by her passion, speaks before bursting into song and taking on several roles in order to retrace the heroine’s destiny. Following on from Phèdre! and Giselle… programmed at the Festival d’Automne, François Gremaud brings to a close his trilogy on the tragic female figures from the performing arts classics. In order to make the words ring out, he condenses the original libretto by Ludovic Halévy and Henri Meilhac whilst Luca Antignani, in order to make the music heard, has composed a synthesis for flute, harp, violin and saxophone, and adds on that eminently popular instrument, the accordion. If today, Carmen is a work which still provokes a reaction within us, and in different ways, Carmen. is an invitation to the life-force of joy.
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