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Arts education

Specifics projects

Specifics projects

Specific projects related to the works examined and in line with the cursus are developed in consultation with the teachers: lectures, round tables led by and involving the students or young people, concert-encounters, practical artistic workshops, travelling conferences, concerts, virtual exhibitions, digital productions...

The 2018/2019 season


SEPTEMBER 2018 – FEBRUARY 2019

  • Choreographic reinterpretations:
    Lamentation, Les Noces, Afternoon of a faun, Faun, Boléro
    Encounters with the choreographers     

    Citation, reconstitution, recreation, tribute, revival: the 2000s were marked by the return of those choreographic practices. Recurrent, fertile and composite, the revival is emblematic of changing practices in the field of choreography.    

SEPTEMBER – OCTOBER 2018

  • Decadancethe infinite task of the artist – The question of the completed work   
    Round table– meeting     

OCTOBER 2018

  • Les Huguenots : Giacomo Meyerbeer,  eclectic composer   
    Lecture

Known above all for his grand operas, Meyerbeer composed a wide variety of works for the stage and for voice, and he was also awarded numerous commissions to celebrate official events (coronations, marriages, official visits, tributes to famous personalities etc...). Censored by the Nazis, his music was no longer performed and many of his earlier works were lost for ever after the Second World War.

  • Bérénice: what musical composition for Racine’s Bérénice?   
    Round table– meeting 

  • Shakespeare, Fragments nocturnes: Love, night or the Shakespearian night   
    Round table– meeting

One of Shakespeare’s greatest themes was the night. From Purcell to Britten, several scenes from operas with librettos inspired by Shakespeare have been brought together for a performance where theatre and opera meet. So many nights condensed into a single evening to express a desire to be and the desire to love.

NOVEMBER 2018

  • La Cenerentola / Cenderellaadaptation, transposition – How the performing arts take possession of the story    
    Round table

  • Tales, oral tradition, written tradition   
    A storytelling and story-writing workshop    

A look at reality through the lens of the magical and the fantastic. Tales open up a vast territory for the imagination. In oral societies, the spoken word is sacred. “Speech is not a passive mode of communication but a mode of action par excellence. Above all, to speak is to act.” François N’SOUDAN    

Moving from an oral tradition to a popular and then literary tradition, the function of a story is primarily moral or philosophical whatever the origin or the period.


JANUARY 2019

  • Il Primo Omicidiothe oratorios of Scarlatti – The Neapolitan School of Opera (1650-1750)   
    Lecture

The author of an abundant corpus of work, which includes sixty-five operas, some eight hundred secular cantatas, a dozen masses, over thirty oratorios and around a hundred motets, Alessandro Scarlatti played a leading role in the emergence of the Neapolitan School. He was the most eminent of that initial group of composers who would influence the history of opera for almost a century after 1650 and mark its style.

  • Interpretations of the episode of Cain and Abel – The theological question in the 18th century   
    Round table
  • The first crime of Humanity   
    Round table

The original act of murder, the story of Cain and Abel has given rise to numerous interpretations in the fields of psychoanalysis, anthropology and the political and social sciences.    

• Les Troyens :  The orchestral modernity of Berlioz    
Lecture

Between the prodigious inventiveness of the orchestration of Symphonie fantastique (1830), and Les Troyens (1863), one of the most inventive works in the history of music, an entire life of musical research unfurled, the cornerstone of which would be the publication of the Treatise of Instrumentation (1844). A testament for Berlioz, Les Troyens is a summary of his whole aesthetic: “all of Berlioz’s musical personality is fused together in this one work” (Ian Kemp).
 

  • Berlioz & Meyerbeer: a complex relationship    
    Lecture

“The author of The Prophet not only had the good luck to have talent, but also the talent to have good Luck. He succeeds as well in small as in great things, in his inspirations and in his clever combinations, as in his distractions.» (Berlioz’s, Evenings in the Orchestra, Fifth Evening). If Berlioz was impressed by the instrumentation of his elder (he gave pride of place to Robert le diable and Les Huguenots in his Treatise of Instrumentation), the relationship between the two composers would always remain difficult, oscillating between praise, reserve and even criticism.


FEBRUARY 2019 – MAY 2019

  • Swan LakeIolanta / The Nutcracker : Tchaikovsky and ballet
    Lecture

Tchaikovsky is known for having composed three famous ballets in the classical repertoire, Swan Lake, The Sleeping Beauty, and The Nutcracker which was initially written as a two-part work with the opera Iolanta and has never been restaged in that version since it was first performed in 1892. Atypical in the composer’s repertoire in more ways than one, Iolanta / The Nutcracker is being presented in an original version in which three choreographers divide up the story of The Nutcracker to translate “what we hear in the music: pain, loss, fear, plenitude, giddy elation, fragilitý, heartbreak, suffocation, compassion…” (Dimitri Tcherniakov).    


MARCH 2019

  • Die Fledermaus   

    Holographic creation

Die Fledermaus is, in some ways, an apotheosis—firstly of the Viennese operetta, then of the work of Johann Strauss and finally, of an era on the brink of collapse—that of Vienna in 1874. The students will produce holograms in the public areas of the venues hosting this Academy production, by using the historical context of the operetta’s creation as a basis.   


APRIL 2019

  • Lady Macbeth of the Mtsensk District: Shostakovich & Stalin: the artist against power
    Lecture

Two days after the premiere of Lady Macbeth of the Mtsensk District, an anonymous article appeared on the front page of Pravda, the mouthpiece of the regime. Entitled “Musical Gibberish” the article denigrated Shostakovich’s opera. Stalin had understood the subversive nature of the work and intended to warn that any behaviour which diverged from official socialist ideology would be supressed.


MAY 2019

  • Around the exhibition The Académie royale de musique: the string orchestra under Louis XIV
    Lecture     

“Louis XIV’s passion for music favoured the emergence and development of a highly characteristic French style. The two orchestras of the court, the famous Vingt-Quatre Violons du Roi, but also Jean-Baptiste Lully’s Petite Bande de Violons delighted visitors at the court by their singularity.” (Florence Gétreau)

  • Élisabeth Jacquet de La Guerre: the first female composer in the history of France
    Lecture – concert

Protégée de Louis XIV depuis l’âge de dix ans, Élisabeth Jacquet de La Guerre, claveciniste, organiste, virtuose, A protégée of Louis XIV from the age of ten, Élisabeth Jacquet de La Guerre, harpsichordist, organist, virtuoso, improvisor and composer, one of the first women to compose an opera-ballet, “the world's leading female musician” according to the Mercure Galant in 1691, was a unique character in the history of music. She explored every genre and composed twelve sacred and secular cantatas, an opera tragedy (Céphale et Procris, 1694) and some trios. The Six Sonatas for violin and harpsichord were performed at the Court, during the King’s petit couvert (luncheon). Her works were dedicated to King Louis XIV. 


JUNE 2019

  • Tree of codes: the dance space    
    Meeting
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