Name: Les Sept péchés capitaux
Start: 2024-01-10T00:00:00.000Z
End: 2024-01-12T00:00:00.000Z
Location: Théâtre des Champs-Elysées

Organization

Others

L’Orchestre de Chambre de Genève

Victoria Hall

Conductor

Marc Leroy-Calatayud

Singer

Judith Chemla

Soloists

Marina Viotti

vokiečių

Les Sept péchés capitaux

Geneva

Switzerland

Paris

France

Théâtre des Champs-Elysées

Les Sept péchés capitaux: Die sieben Todsünden Weill (+1 More)

Private

Public

The Seven Deadly Sins

Concert

prancūzų

anglų

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Tenor

Soprano

Mezzo-soprano

Bass

Contralto

Baritone

Bass-baritone

Countertenor

Alto

Child vocalist

Continuo

Silent

Spoken

Interdit d’exercer la moindre activité en relation avec la musique sous le nazisme, Kurt Weill s’expatrie à Paris en 1933. Peu de temps après son arrivée, Boris Kochno, alors co-directeur avec le jeune Balanchine des Ballets 33, lui passe commande d’un ballet. Un temps envisagé en collaboration avec Cocteau, il retrouvera finalement son complice Bertolt Brecht, avec qui il s’était fâché quelques années auparavant, pour une ultime collaboration. Réquisitoire implacable d’une société en déliquescence, l’ouvrage s’articule en sept séquences où se côtoient valse, foxtrot, marche, tarentelle et quatuor vocal masculin. La parabole d’une dualité sociale (autoritarisme / anarchie) est incarnée par le personnage féminin, Anna I, et son double dansé, Anna II. Entre gouaille mi-parlée, mi-chantée et choral dans la plus pure tradition luthérienne, Kurt Weill explore tout le spectre d’une pièce musicale en constante instabilité à l’image de l’idée de société qu’elle dépeint.

Coproduction Théâtre des Champs-Elysées | L’Orchestre de Chambre de Genève

français

After being banned from involvement in any form of musical activity under the Nazi regime, Kurt Weill moved to Paris in 1933. Shortly after his arrival, Boris Kochno, co-director of the Ballets 33 company alongside a young Balanchine, commissioned a ballet from him. Weill initially considered working with Cocteau, but eventually joined forces with Bertolt Brecht, with whom he had fallen out several years previously, on what would be their last collaboration. An unflinching indictment of a society in decline, this work is divided into seven sequences featuring a waltz, foxtrot, march, tarantella and a male vocal quartet. This parable of social dualism (authoritarianism versus anarchy) is embodied by the female character, Anna I, and her dancing doppelganger Anna II. In a combination of part-spoken and part-sung banter, and choral song in the pure Lutheran tradition, Kurt Weill explores the full spectrum of a musical piece which is riddled with instability to echo the society he is depicting.

English

Les Sept péchés capitaux by Weill, Various, Nuo (2024/2024), Dirigentas Marc Leroy-Calatayud, Théâtre des Champs-Elysées, Paris, France

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