2015_prestation_this..

CREATION 2014/15
THIS IS NOT A DREAM
Magic Lantern for Satie/Cage
!
Louise MOATY, Conception and Projections
Alexeï LUBIMOV, Pianos
!
Executive producer I Fondation Royaumont
Co-production I Théâtre de l’incrédule, IMEC Abbaye d’Ardenne - Caen, Théâtre de Caen,
Maison de la Musique Nanterrre
Residencies l Abbaye de Noirlac CCR, Scène nationale d’Orléans
with the precious help of
Compagnie Les Rémouleurs, technical stuff of the Théâtre de Caen,
FormaTTec – Porrentruy (Switzerland)
OPTICAL CONCERT
In her singular makery, Louise Moaty reinvents a new type of
dialogue between image and music. Linked to pre-cinema, object
theatre or cinetic art, the shadow play and projections of her magic
lantern interact with the pieces for piano of Erik Satie and John
Cage, to create a dreamlike musical landscape, and open new
dimensions full of surprises…
Contact production / diffusion : Compagnie Louise Moaty
Elisabeth Le Coënt [email protected] / +33 6 10 77 20 25
From Satie to Cage…
Erik Satie, John Cage: two composers who surveyed the full range of music’s
potential, and between whom one can discern the horizon of a musical
landscape whose perspectives were clearly identified by Satie in his role as the
father of modern music. Following in the footsteps of a creator for whom his
admiration knew no bounds, the American composer and visual artist John Cage
embarked on his own explorations, asserting the artistic filiation of the two men.
In this school of free inquiry, the keyboard plays the role at once of playing field
and testing ground. By turns ludic, esoteric, meditative or absurd, provocative,
tender or explosive, but always poetic, the music of Satie and Cage – played
here on piano, prepared piano, or toy piano – seems to transport us according to
the whims of a witty and mysterious mechanism conceived to dream itself into
existence.
Midway between art and science, the moving images of the magic lantern –
hand-painted glass plates and miniature mechanisms for spectacle,
shadow theatre or infinitely small objects – are projected on a round,
moon-like screen floating above the pianos. In harmony with this sonic
mechanism, they portray the strange movements of a universe that might
be play, respiration, the science of chance, or the wanderings of a dreamer.
Intentions
It was thanks to the Fondation Royaumont and Sylvie Brély that Alexei Lubimov and I
got to know each other, and the enthusiasm and profundity of the artistic dialogue that
has grown up between us since our meeting has confirmed how penetrating their
intuition was.
While I had always dreamt of combining the magic lantern with the toy pianos and
prepared pianos of John Cage, it was Alexei, when I contacted him about an optical
concert devoted to Satie, who suggested we should add works by Cage, thus bringing
out the filiation between them and the proximity of their respective worlds! We worked
together on the content of the musical programme, moving freely from one composer to
the other according to a ludic dramaturgy associated with dreams and poetry.
The maturity of Alexei, the profundity and intensity of his playing have not diminished
his open-mindedness and his childlike curiosity. I believe it is a great stroke of luck for
the show to benefit from the contribution of this magnificent personality.
The extreme precision of the mechanisms that animate the images of the magic lantern
prompted me to seek a partnership with a school of horology and microtechnology at
Porrentruy (Switzerland), whose students built the revolving mechanisms. While giving
us the benefit of their advanced technical expertise, they can also take advantage here
of a unique opportunity to apply their skills in the artistic domain.
Finally, it was with the help of the theatre company Les Rémouleurs that I conceived the
lantern itself. Olivier de Logivière and Olivier Vallet, specialists in the ‘Great Art of Light
and Shadow’ – to use the title of the book in which Athanasius Kircher described the
first magic lantern in 1646 – built a tailor-made machine that is perfectly suited to my
needs in terms of the distance and diameter of projection, the functionality of the holder,
and so on. A very special lantern, dreamt up by the twenty-first century.
Hence this project has been enriched by multiple collaborations in both its artistic and
technical dimensions!
Francis Picabia Réveil matin 1914
Images
Moving between painting and volume, figuration and abstraction, our plastic
universe will draw its inspiration from the long traversal presented by the show’s
musical programme.
In the early years of his career, Erik Satie appeared at the cabaret Le Chat Noir,
famous for its shadow theatre shows, where he met the Symbolist and Nabi
painters.
Caran d’Ache, le Cabaret du Chat Noir, 1889
But he very quickly became interested in more explosive forms: the Cubist
experiments of his great friend Georges Braque, or those of Pablo Picasso, who
designed the decors of the ballet Parade in 1917.
Marcel Duchamp and his Rotoreliefs
Very close to the Dadaist movement, he associated with Tzara, Man Ray,
Picabia, and Marcel Duchamp.
It was Duchamp who served as the link between the two composers: after
collaborating with Satie on René Clair’s Entr’acte in 1924, he became friendly
with John Cage, who wrote Music for Marcel Duchamp for him in 1947.
His series of Rotoreliefs, created in 1935, testify to his passion for the optical
games and seem to be directly based on the chromatropes made for the magic
lantern in the nineteenth century.
Duchamp, Rotoreliefs, 1935
Langenheim, Chromatropes 1875
Finally, another brother in images: the sculptor Alexander Calder, who was to design a
moving stage construction for Satie’s Socrate in 1936, and for whom John Cage
composed Works of Calder in 1950.
Calder’s Circus provides a magnificent source of inspiration for our own miniature
theatre.
Calder, Elephant, 1928
Calder, le Cirque, 1925
Seeking to explore, reinvent, subvert the specific
language of pre-cinema and moving shadows, we will have but a single
objective, following the example of Satie and Cage: constantly to push back the
limits of our visual writing to the point where the two dimensions of the screen
are swept away.
Through the multiplicity of subjects and narrative and technical devices,
mechanisms of sound and light will resonate together to form the spirals of
infinite formal reveries.
Music !
Musical programme
Erik SATIE – John CAGE
Four Walls extrait (Cage)
Sur une lanterne (Satie)
The Seasons extrait (Cage)
Sur un vaisseau (Satie)
Sports et Divertissements extraits (Satie)
Petite ouverture à danser (Satie)
Les Pantins Dansent (Satie)
Cinéma extrait (Satie)
Suite for Toy piano (Cage)
A Room (Cage)
The Perilous Night 2 (Cage)
Music for Marcel Duchamp (Cage)
Prélude pour Méditation (Cage)
Avant-dernières pensées (3 pièces) (Satie)
Four Walls extrait (Cage)
Dream (Cage)
Four Walls extrait (Cage)
The wonderful widow of eighteen springs (Cage)
The Perilous Night 4, 5 (Cage)
Gnossienne n°5 (Satie)
Director, performer,
conception and realisation of the magic lantern
Louise Moaty
In 2013/14 Louise Moaty directed Der Kaiser von Atlantis, a magnificent
chamber opera by Viktor Ullmann and Petr Kien written at Theresienstadt in
1943, for the Théâtre de l’Athénée Paris, the Maison de la Musique à Nanterre,
the Opéra de Reims, the Opéra de Massy, the Scène Nationale de Niort, the TAP
Poitiers and the Théâtre de Saint Quentin (with Arcal and Ars
Nova, conductor Philippe Nahon).
Fascinated by the links between music and theatre, she also premiered in
2014 This is not a dream, magic lantern for Satie/Cage with the Russian
pianist Alexei Lubimov, a dreamlike dialogue between three pianos (concert,
prepared, toy) and the images she realised and projects in live performance for a
home-made magic lantern, between art craft, science and poetry (Performances
including Cité de la Musique Paris, Festival Automne en Normandie, Abbayes of
R o y a u m o n t a n d N o i r l a c , M C A A m i e n s , S c è n e N a t i o n a l e d ' O r l é a n s , T h é â t r e d e
Caen, Nanterre, Maastricht, Gent, Geneva...). In 2012/13 she directed John Blow’s opera Venus and Adonis for the Théâtre de Caen, the Opéra de
Lille, the Grand Théâtre du Luxembourg, MC2 Grenoble, the Opéra Comique, and the Nantes and Angers
Operas (with Les Musiciens du Paradis, musical direction Bertrand Cuiller). In 2011 Mille et Une Nuits, her own adaptation of The Thousand and One Nights, which she performed
and directed alongside the ensemble La Rêveuse (Scène Nationale de Quimper, Institut du Monde Arabe
in Paris, Théâtre de Caen, Abbaye de Royaumont, Jeu de Paume Aix, Eu, Pontoise, Levallois, Sablé),
and in 2010 La Lanterne magique de M. Couperin with the harpsichordist Bertrand Cuiller, still on tour
with Violaine Cochard (produced by the Théâtre de Cornouaille, with other performances including Opéra
Comique Paris, Opéra de Bordeaux, Théâtre de Caen, Théâtre National de Toulouse, La Roque
d’Anthéron, Utrecht, Bruges, Stockholm, Brussels).
In 2009, she produced, then toured Handel’s Rinaldo (with Collegium 1704, cond. Václav Luks), initially
staged at the National Theatre in Prague, with tours to the Théâtre de Caen, the Opéra de Rennes, and
the Grand Théâtre du Luxembourg, and revivals at the Opéra Royal de Versailles and the Opéra de
Lausanne (heard there with the Orchestre de Chambre de Lausanne, conductor Diego Fasolis). The last
performances took place in Prague in June 2014. As an actress, she has performed with Jordi Savall on the programmes Jeanne d’Arc and L’Éloge de la
Folie, which she has recorded for Alia Vox. She has also appeared with Clément Postec, Perrine Mornay,
Alexandra Rübner, Nicolas Vial. Recently she was Thisbé in Théophile de Viau’s play Les Amours
tragiques de Pyrame et Thisbé at the Théâtre de l’Athénée Paris among other venues. This was directed
by Benjamin Lazar, with whom she works regularly as an actress and artistic collaborator on such
productions as Le Bourgeois Gentilhomme (as Lucile), Lully's Cadmus et Hermione with Le Poème
Harmonique (Vincent Dumestre), Massenet’s Cendrillon with Les Musiciens du Louvre (Marc
Minkowski), Landi's Il Sant'Alessio with Les Arts Florissants (William Christie), L'Autre Monde ou les États
et empires de la Lune with La Rêveuse (Benjamin Perrot/Florence Bolton) and La la la, Opéra en
chansons with Les Cris de Paris (Geoffroy Jourdain) in which she played La Blonde. Their theatrical
fraternity will shortly result in a new production of S. Ansky’s The Dybbuk, in which she will interpret the
role of Leah (June 2015, Festival Printemps des Comédiens Montpellier).
Russian pianist and harpsichordist, born in Moscow in 1944.
Alexei Lubimov
From his Moscow premieres of John Cage and Terry Riley in 1968, by
way of the Moscow Baroque Quartet of the 1970s and the avant-garde
festival ‘Alternativa’ he founded in 1988, to Schubert on period
instruments in Haarlem in 2009 and a class on period and modern
instruments at the Moscow Conservatory as well as a fortepiano class
at the Salzburg Mozarteum – History with a capital H has loomed large
in his life: through the era of the Iron Curtain, artistic isolation and the
KGB, via perestroika, to the world of today.
A few biographical elements
Right from his early years as a pupil of Heinrich Neuhaus at the Moscow
Conservatory, Alexei Lubimov tackled every facet of music. He worked on
the traditional piano repertoire while also frequenting Russian avant-garde
composers like Denisov, Schnittke, and Volkonsky. With the last-named,
he explored the beauties of the works of Machaut and Ockeghem. As fate would have it, Edison Denisov
invited the twenty-four-year-old pianist to Brussels to play the Russian avant-garde in 1968. There he met
the Kuijken brothers, whose path he was to cross again twenty years later in the world of Baroque
music.
Harpsichord
Lubimov’s first contact with a harpsichord was a kit instrument, a Ruckers copy built by Zuckerman/
Ducornet in the early 1980s – at a time when he had been ‘punished’ by the regime for championing
avant-garde music and prohibited from foreign travel. He then decided to travel the length and breadth of
the USSR, visiting his composer friends in Tbilisi, Yerevan, Riga, Tallinn etc., and playing Bach and other
Baroque music on this instrument alongside Tatyana Grindenko (violin), Anatoly Grindenko (viola da
gamba) and Oleg Khudyakov (flute); together they formed the Moscow Baroque Quartet. He
subsequently began meticulously noting down the museums and instruments whose details he found on
the sleeves of Gustav Leonhardt’s recordings, whenever and wherever he managed to pick these up.
Fortepiano
There were no fortepianos at all in the USSR. Only after the fall of the Berlin Wall did it become possible
to find playable instruments of good quality. An invitation from Erato in 1991 enabled Alexei Lubimov to
come to France to record the complete Mozart sonatas on fortepianos made by Christopher Clarke. From
then on he was obsessed by the quest for the ideal instrument, which he finally found in the Edwin
Beunk Collection at Enschede in the Netherlands.
Russian culture and the Viennese Classics
The Russian pianistic culture Alexei Lubimov inherited from Heinrich Neuhaus, one of whose last pupils
he was, dazzles with its virtuosity, of course, but also its profound soulfulness and warmth which can set
your spine tingling and bring a lump to your throat. Moreover, he brings his experience of historical
pianos, his knowledge of their functioning and construction: the meeting of Russian and Viennese
cultures is an aesthetic shock!
‘Historical and modern keyboard’ class at the Moscow Conservatory
Lubimov is currently professor there, training a new generation of pianists for the widest range of
repertoire.
Pursuing his twin ‘modern’ and ‘period’ careers, he performs with many conductors around the
world (including Vladimir Ashkenazy, Neeme Järvi, Esa-Pekka Salonen, Marek Janowski,
Christopher Hogwood, Sir Roger Norrington, Frans Brüggen, David Robertson, Andrey Boreyko,
Iván Fischer, Kent Nagano, Yan Pascal Tortelier) and with such leading musicians as Natalia
Gutman, Christian Tetzlaff, and Andreas Staier.
Samuel Gonzalez / Niusic - Artist & Communication Agency
[email protected] / Tel. : + 33 (0) 6 17 61 60 90
Contact production / diffusion : Compagnie Louise Moaty
Elisabeth Le Coënt [email protected] / +33 6 10 77 20 25
Louise Moaty et Alexei Lubimov
« This is not a dream ! »
Magique, la lanterne !
!
Louise Moaty et Alexei Lubimov. Photographie © Fondation
Royaumont.
Théâtre de Caen, 26 mars 2015, par Alain Lambert ——
John Cage écrivait de Satie, Erik, contre tous les fâcheux : il ne
s'agit pas de savoir si Satie est valable. Il est indispensable. C'est
bien ce que pensent les deux protagonistes du spectacle magique,
This is not a dream, sur le principe magrittien du Ceci n'est pas une
pipe.
Tout ici n'est qu'illusion d'optique ou théâtre d'ombres, bien avant le
cinéma et le numérique, même si la lanterne est très moderne, et
ses dispositifs complexes animés par des horlogers, loin de
l'artisanat d'autrefois.
Mais la magie fonctionne à merveille, donnant à la musique d'Erik
Satie et de John Cage une résonance plus profonde encore, dans
la dimension des champs magnétiques surréalistes plus que dans
l'anti art dada.
C'est d'autant plus troublant qu'Alexei Lubimov ressemble un peu
au maître d'Honfleur, tel que Man Ray l'a photographié en 1922.
Magnifique pianiste, très à l'aise sur les trois pianos, le normal, le
préparé, et le jouet, il passe sans se troubler des uns aux autres, et
de l'un à l'autre, avec sa lumière frontale allumée, pour ne pas se
perdre au royaume des ombres, celles du lion affamé ou des
chasseurs maladroits.
Pendant que sa complice tourne autour de sa machine, glisse ses
plaques, les anime, jouant avec le titre, l'ambiance, puis préparant
la séquence suivante pendant chaque interlude.
Le premier morceau illustré est « Sur une lanterne », deuxième
moment des Descriptions automatiques. Le premier suivra plus tard,
« Sur un vaisseau ». On imagine Satie, au « Chat noir », rêvassant
et improvisant pendant le spectacle d'ombres du cabaret. Les
images, naïves et humoristiques se succèdent, pleines de chats, de
sirènes, de poissons... Elles éclatent en couleur comme « Le feu
d'artifice » des Sports et divertissements. Dessinées, peintes,
collées, bricolées, toutes s'adaptent avec précision au rythme du
piano en balançant, ou tournicotant comme dans un praxinoscope
animé par Méliès.
Sur les airs de piano préparé, dont Cinéma de Satie, qui sonne très
bien, les images sont plus abstraites, kaléidoscopiques, en
hommage aux Rotoreliefs de Marcel Duchamp, pour qui Cage avait
composé une suite.
Puis après Dream, light show surréaliste d'huiles colorées injectées
les unes sur les autres, Louise Moaty ferme sa lanterne, allume une
bougie, et entonne d'une voix nette et claire un avant-dernier air de
Cage, The wonderful widow of eighteen spring, accompagnée par
des percussions sur le couvercle du clavier.
Avant de réapparaître, sur The Perilous Night, juchée sur l'écran
géant, fabriqué par l'équipe technique du théâtre de Caen,
coproduction oblige, qui est en fait cerclé de barreaux, et derrière
lequel elle se glisse, ombre à son tour ou aiguille d'horloge, dans un
dernier hommage au temps de l'avant cinéma, quand nous
pouvions nous émerveiller loin des milliards de l'industrie des
images et des rêves éveillés.
Louise Moaty retourne dans les airs pour le rappel sur la
Gnossienne no 5, retrouvant le chat de Satie, avant de tracer le mot
« Fin » au pinceau.
Un superbe spectacle, original, poétique, surmusical,
« indispensable » comme disait Cage.
!
Alain Lambert
26 mars 2015
ARTE Y CULTURA
CLÁSICA
InicioMúsicaClásica
Esto no es un sueño, pero
creerás que sí. Alexeï
Lubimov en el Cervantino
23 OCTUBRE, 2015
DANIELA URIBE CLÁSICA, ESCÉNICAS, FESTIVALES, MÚSICA,
TEATRO 0 COMENTARIOS
GUANAJUATO, México.- ¿Cómo resulta la fusión entre lo clásico y
lo contemporáneo en un escenario? Fácil, o por lo menos así lo
hace ver el pianista ruso Alexeï Lubimov, el primer músico en
haber tocado piezas de John Cage, Stockhausen y Ligeti, entre
otros artistas vanguardistas de la Rusa soviética.
This is (not) a dream. Magic Lantern, puesta en escena que se
presentó en el Teatro Juárez de Guanajuato como parte del
Festival Internacional Cervantino y estará el domingo 25 en el
Centro Nacional de las Artes, surge de la obra de John Cage
titulada Dream (1948), donde Lubimov maniobra con un juego de
palabras y explica que el not en el titulo se utiliza de acuerdo con la
percepción del público, al decidir si lo que ven es como un sueño o
no. A la música de Cage se unirán las melodías del músico Erik
Satie, quien fue una gran influencia para Cage, según relata
Lubimov. La obra está acompañada por la artista visual, cantante y
actriz Louise Moaty, quien proyectará imágenes elaboradas sobre
vidrio, a través de una pantalla circular, la cual interpreta la linterna
mágica.
“Ambos fueron personajes sumamente importantes en la música,
pues los dos influenciaron bastante en las próximas generaciones
después de ellos. Por eso y por mi gusto eterno por su música, es
que decidí utilizar sus composiciones para esta pieza”, comentó.
El dialogo, creado entre los fragmentos de las obras de Satie y
Cage interpretadas por Alexeï Lubimov, y las proyecciones de
Moaty, hacen de This is (not) a dream. Magic Lantern una
propuesta teatral multimedia que rompe con los esquemas del
teatro convencional, al mezclar varias disciplinas en el mismo
escenario.
“Aquí yo dejo las tradiciones de los pianistas clásicos a un lado, en
algún punto de la obra dejo de ser músico para convertirme en
actor, y Louise deja la actuación para encantarnos con su bella voz”
explicó el pianista.
Después de esta magnífica propuesta, al día siguiente Alexeï
Lubimov interpretó en el mismo recinto guanajuatense el Concierto
para piano y orquesta No. 1, Op. 15 de Brahms. Lo que fue
pensado ser una sinfonía originalmente, se convirtió en una fusión
de emociones mórbidas y sumamente intensas, con la
majestuosidad de la segunda parte de la pieza.
ふらんす2015年9月号立ち読み「アート＆スペクタクル」岡田Victoria朋子 - 白水社
3/12/2015
Paru dans le journal « La France »
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おとぎの世界
独創性あふれる演出で独自の世界を紡ぎだす女優兼演出家のルイーズ モアティが、2作目の幻灯ショーで現在フランス内外を公
演中だ。This is not a dream という題ながら、夢とアイデアがいっぱいのちょっと昔風の出し物。2011年5月号でも紹介したが、幻
灯機 lanterne magique は映写機の祖先で、絵が描かれたガラス板と光を組み合わせていろいろなイメージを投影する機械。今回の
公演では、スイスの時計製作工による特別製の機械を使用。1作目よりさらに表現の幅を増が広がった。ロシアのピアニスト、ア
レクセイ
ルビモフが、ピアノ、プレパード ピアノ（弦に異物などを挟んで音質や音量を変化させたもの）、トイピアノを駆
使してサティとケージの作品を奏でる中、19世紀末パリのキャバレー「シャ
ア、マン
ノワール」の影絵ショーや、ピカソ、ピカビ
レイ、カルダーのモビール彫刻などにヒントを得たイメージが、舞台中央に備え付けられた円形のスクリーンに次々
と映し出される。それぞれのイメージは数秒から１分くらいの短いものだが、モアティが舞台の前でガラスやプラスチックのプ
レートを操作する様子を見ることができて楽しい。最後には彼女自身がスクリーンの中に入って、影に変身してしまうというサ
プライズが。昔ながらの手作業と、サティとケージの少々皮肉っぽい音楽が交わって、ノスタルジックなひとときを存分に楽し
める。7月15日 サント音楽祭 Festival de Saintes, Gallia Théâtre.
もうひとつのおとぎ話は、サン リキエ Saint­Riquier 音楽祭の「日本の昔話」。語り部ヤニク
ジョランが、フランス西部ポワ
トヴァンの地方語を交えて、蛇女（メリュジーヌ）の話、雨を振らせなくした仙人の話、現実の冒険が夢に見たとおりだったと
いう若者の話を、琴の吉原佐知子と尺八の神令（じん　れい）の音楽で語る。脚色が面白く、フェスティバルの関係者（特に音
楽監督のエルヴェ
ニケなど）も脇役として登場させ、さらに開催地近郊のソム湾（ヨーロッパ有数の野鳥の生息地として有
名）の雨が多い気候なども物語の要素として取り入れるなど、「語り部」芸術を存分に発揮する絶妙の語り口が見事だった。音
楽はすべて伝統的な邦楽で、まず尺八、次いで琴、そして両者の共演で、物語に彩りを添えると同時に、観客が邦楽に親しめる
よい機会ともなった。7月7
12日。
This is not a dream
http://www.hakusuisha.co.jp/news/n12557.html
1/4
ふらんす2015年9月号立ち読み「アート＆スペクタクル」岡田Victoria朋子 - 白水社
3/12/2015
@Benoît Labourdette
http://www.louisemoaty.com/_docs/2015_this_is_not_a_dream/img/gif/this_is_not_a_dream_etoile.gif
http://www.louisemoaty.com/_docs/2015_this_is_not_a_dream/img/gif/this_is_not_a_dream_traineau.gif
http://www.louisemoaty.com/_docs/2015_this_is_not_a_dream/img/gif/this_is_not_a_dream_sirene.gif
http://www.louisemoaty.com/_docs/2015_this_is_not_a_dream/img/gif/this_is_not_a_dream_double_trame.gif
幻灯ショー This is not a dream 幻想的なイメージの数々
This is not a dream
…
@Benoît Labourdette
サント音楽祭
上記のサント音楽祭は、質の高い演奏に定評があり、毎年訪れる固定ファンも多い。7月14日夜には、フィリップ
がコレギウム
ヴォカーレ
ヘレヴェッへ
ヘントを指揮してバッハのロ短調ミサ曲を演奏したが、その出来映えの深さと荘厳さは、並みいる
専門家、評論家、愛好家をうならせる最高峰ともいえるものだった。彼は1982年から2002年まで20年にわたってサント音楽祭の
前身「サント音楽アカデミー」の音楽監督を努めたこともあり、場所を知り尽くしての演奏だったと言える。コレギウム
カーレ
ヴォ
ヘントは16日にスキップ サンペの指揮で同じくバッハのカンタータ3曲を演奏し、ソリスト陣では現在急上昇中のフラ
ンスのカウンターテナー、ダミアン ギヨンが目の覚めるような歌声を披露。15日午後には、アンサンブル
ンティックが「ヴェネツィア
バロック
アトラ
テデスカ」と銘打って、ドイツからの影響を受けたヴェネツィアのソナタを、17世紀半ばから18
世紀半ばまで時代を追って紹介。夜には、期待の若手指揮者ラファエル
ピション率いるアンサンブル
ピグマリオンが、「ラ
インの乙女」と題して、ブラームス、シューマン、シューベルト、ワグナーの作品を取り合わせた興味深いテーマコンサートを
開催。若手シリーズでは、14日にチューバ四重奏団 Tub’à l’image を聞いた。リヨン音楽院出身の若手チューバ奏者4人がクラシ
ックのヒット曲を独自の編曲で奏でる。そのテクニックたるや、驚きに次ぐ驚きだ。無声映画や演劇とのコラボレーションも行
う、活躍がおおいに期待される団体。
サント音楽祭は、音楽的な完成度だけでなく、趣向をこらしたプログラムも至極興味深い。7月10日
（おかだ
ヴィクトリア
18日。
ともこ）
© DR
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