L'OMBRE DE VENCESLAO
Du 2 au 09.04.2017Mise en scène : Jorge Lavelli. Théâtre du Capitole.
To enjoy a few musical breaks, get off the beaten path, encourage alternate routes, digress into the lines of a retrainlet yourself go, shift your vision; the scene chimes and thunders magnificently, as it bucks the trend.
Paris Damien Saez’s (photo) somber nostalgia, as combative and rallying as ever, is steeped in music that harmoniously blends keyboards, stringed instruments and guitars, all the better to jolt us out of our conformity. The poet is making his big return to the stage with his Manifeste, a project in which Damien Saez, a harbinger of resistance, combines texts, videos and songs, denouncing a world that is going off the rails.
Toulouse It started out as a play by Copi, an Argentine novelist: the provocative story of Venceslao, the poor but proud head of his household, surrounded by his family and his animals (who appear onstage). On this broad canvas, Martin Matalon, a champion of musical theater, who has written scores for Buñuel films, mixes classical orchestra, electronic music and Argentine tango. The first thing that strikes in this contemporary opera is the inventiveness of the instrumental writing, the orchestral combinations that perfectly match the picaresque personalities of the characters. Disconcerting and magical.
Zagreb “Free spirits,” free as the air that they slap with their hands, or the membranes of their percussion instruments. Created in 1959 by Pierre Boulez, the Percussions de Strasbourg have been endlessly, tirelessly innovative, bucking musical convention. Thanks to an eclecticism that verges on the insolent, the percussionists can go from a tambourine played with military precision to maracas amplified by electroacoustic sounds, from a solo of body percussion to minimalist music with just two people clapping their hands. In other words, free.