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...
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
Decadance: the infinite task of the artist – The question of the completed work
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
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
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.
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.
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
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).
“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.
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
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.
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.
Around the exhibition The Académie royale de musique: the string orchestra under Louis XIV
“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)
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.
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