Romeo Castellucci, Esa-Pekka Salonen, Gustav Mahler
Symphonie No. 2 “Résurrection”
novembernov 28 - 30
Monika Rittershaus – Festival d’Aix-en-Provence 2022 ©
Monika Rittershaus – Festival d’Aix-en-Provence 2022 ©
Thursday november 28
20h00
Friday november 29
20h00
Saturday november 30
20h00
Distribution in progress.
Revival of the Festival d'Aix-en-Provence 2022 production
Coproduction Philharmonie de Paris; La Villette; Abu Dhabi Festival; Teatro Colón (Buenos Aires)
La Villette, the Philharmonie de Paris and the Festival d'Automne à Paris are co-producing this show.
Directed by Romeo Castellucci, Gustav Mahler's Resurrection symphony seems to take on all its tragic grandeur. Masterfully conducted by Esa-Pekka Salonen, the Italian director magnifies this monumental work in order bring us a funereal “song of the earth” from which nobody emerges unscathed.
Composed by Gustav Mahler between 1888 and 1894, the score of Symphony No. 2, known as Resurrection, is a breath-taking one. You listen to it in the same way as you might immerse yourself in a film. Like many others by the same composer, its score was initially a source of incomprehension. Confronted with this unconventional object for the world of theatre, and with this score designed to be listened to with eyes closed, Romeo Castellucci opted for implacable humility. It certainly is chilling, and even more so today, two years after its first performance at the Aix-en-Provence Festival. But it is also the dynamic installation that Romeo Castellucci has designed for it that is so miraculous, in that it renders Gustav Mahler's imponderable magic (and indestructible modernity) even more audible. In tune with Esa-Pekka Salonen's conducting, the director delivers us a moving song of the earth which prompts us to be present and alive in the face of the dead.
In the same place
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Theo Mercier Skinless
Brought to the stage by visual artist Théo Mercier, Skinless is a disenchanted Eden built on a landscape of rubbish. Amidst this XXL end-of-the-world panorama, an out of the ordinary couple loves and tears each other apart under the watchful eye of a tragic observer.
Marlene Monteiro Freitas, Ballet de l’Opéra de Lyon Canine Jaunâtre 3
Following on from the Portrait dedicated to her by the Autumn Festival two years ago, Marlene Monteiro Freitas hijacks the match: twenty-five virtuoso performers, each wearing the same number 3 vests, throw the score into disarray, measure themselves against the grotesque and warp the game. This show sees the eccentric choreographer passing on to the Lyon Opera Ballet a jousting match of hybrid times, a carnivalesque fresco in which the human, animal and machine have a tendency to merge.