Jean-Jacques Rousseau hailed “Platée” as “the best musical play ever to be heard in our theatres.” In Robert Carsen’s production, the mythological events take place in the world of Parisian haute couture and Jupiter is portrayed as the fashion god Karl Lagerfeld (1933-2019) – who has now really been transferred up to Olympus. This ingeniously apt transposition of this satirical opera into the modern day has long been a hit! The renowned specialist in baroque music, William Christie, conducts his Les Arts Florissants, the Arnold Schoenberg Chor and a fantastic cast. “A candy-coloured baroque dream” Salzburger Nachrichten // “A must-see – and not only for fashion freaks!” Bühne BONUS: Interviews with Marcel Beekman, Nicolas Paul (Choreographer), Gideon Davey (Set and Costume Designer), William Christie and Robert Carsen
Pierre Hantaï and Skip Sempé play Rameau’s “Symphonies for two harpsichords”
At the Chikurin Banquet Hall of Tokyo’s famous Gajoeng Hotel, Pierre Hantaï and Skip Sempé present their successful chamber music programme of Rameau’s “Symphonies for two Harpsichords”. It comprises transcriptions compiled from nine different works, among them Rameau’s first opera Hippolyte et Aricie, as well as Dardanus, Les Indes galantes, and the composer’s instrumental masterwork Pièces de clavecin en concert. Hantaï and Sempé, two artists situated at the forefront of today’s musical personalities in Renaissance and Baroque music, create a stunning atmosphere in this private recital. Recorded in the picturesque surrounding of extravagant Japanese-style murals and artworks preserved from the old Gajoen buildings – which used to be one of Japan’s first wedding complexes back in the 1930s –, this concert is a pleasure for both the eye and the ear.
Platée
Jean-Jacques Rousseau hailed “Platée” as “the best musical play ever to be heard in our theatres.” In Robert Carsen’s production, the mythological events take place in the world of Parisian haute couture and Jupiter is portrayed as the fashion god Karl Lagerfeld (1933-2019) – who has now really been transferred up to Olympus. This ingeniously apt transposition of this satirical opera into the modern day has long been a hit! The renowned specialist in baroque music, William Christie, conducts his Les Arts Florissants, the Arnold Schoenberg Chor and a fantastic cast. “A candy-coloured baroque dream” Salzburger Nachrichten // “A must-see – and not only for fashion freaks!” Bühne
Christophe Rousset conducts Rameau
“Under the baton of Christophe Rousset, everything is perfectly executed, weighed, clean, the gestures are soft, everything is bathed in a precise but gentle delicacy” (forumopera.com) A true spearhead of French music, Jean-Philippe Rameau has always accompanied the Talens Lyriques and has quickly become an emblematic figure in their history. This is why they wanted to celebrate their 30th anniversary at the Châtelet with a programme dedicated to him. And what better work to do so than Les Fêtes d’Hébé ou Les Talens Lyriques? With Ambroisine Bré, Cyrille Dubois and Florian Sempey, they perform large excerpts from this opera-ballet composed in 1739 as well as from the lyrical tragedy Dardanus. PROGRAM Rameau: Les Fêtes d’Hébé ou Les Talens Lyriques? (extracts), Dardanus (extracts)
Dancing Queen
‘Everybody dance!’ – With this call, the lautten compagney BERLIN, together with saxophonist Asya Fateyeva, invites the audience to embark on an exciting journey through three centuries of musical history. It seems audacious to link Jean-Philippe Rameau (1683-1764) and ABBA (1972-), two absolute giants of European music history. However, even a second listen reveals countless similarities: the originality and catchiness of their melodies, the rhythmic buoyancy and the unrestricted popularity of both building a bridge from the present day to a time when it was less the Queens and more the Kings who could be found on the dance floor. ABBA’s music is arranged, played on instruments from the baroque period and not just juxtaposed with Rameau’s music. In fact, the pieces are sometimes so fused that it is almost impossible to recognise what was penned by the late baroque Frenchman and what came from the Swedish pop quartet’s workshop.