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Opéra Danse Théâtre GRAND THÉÂTRE 10OPÉRA DANSE / THÉÂT11RE DE LUXEM BOURG Couverture: Michael Clark Company – come, been and gone © Jake Walters 10OPÉRA DANSE / THÉÂT11RE GRAND THÉÂTRE DE LUXEMBOURG € SOMMAIRE 4 OpÉRA & THÉÂTRE MUsiCAL COSÌ FAN TUttE Wolfgang Amadeus Mozart 10 NiOBE Agostino Steffani 14 LA FLÛTE ENCHANTÉE (TITRE PROVISOIRE) Wolfgang Amadeus Mozart / Peter Brook 18 BÉATRICE ET BÉNÉDICT Hector Berlioz 22 CARMEN Georges Bizet 26 MAtsUKAZE Toshio Hosokawa 30 THÉÂTRE L LE CARNAVAL BAROQUE Arts du cirque, musiques et danses du XVIIe siècle MUSICA 34 THÉÂTRE L DJANGO DROM Hommage à Django Reinhardt MUSICA 38 THÉÂTRE L LES PENDUS Josse De Pauw & Jan Kuijken MUSICA 42 CIRQUE LE CIRQUE INvisiBLE Victoria Chaplin & Jean-Baptiste Thiérrée 48 DANSE MALANDAIN | BAllET BiARRitZ Roméo & Juliette 54 BAllET PRELJOCAJ & THÉÂTRE DU BOLCHOÏ Création 2010 58 MICHAEL ClARK COmpANY come, been & gone 60 JOSEF NADJ & AKOSH S. Les Corbeaux 64 JOSEF NADJ Woyzeck ou l'ébauche du vertige 66 5 ROSAS / ANNE TERESA DE KEERsmAEKER Création 2010 70 Lisi EstARÀS primero 72 JAviER BARÓN Dos Voces para un Baile 74 miCHÈLE ANNE DE MEY Neige 76 AUstRAliAN DANCE THEATRE Be Your Self 80 SYlviE GUillEM & RUssEll MAlipHANT Push 82 THE RUssEll MAlipHANT COMPANY AfterLight 86 GAUTHIER DANCE & CHRistiAN SPUCK Poppea/Poppea 90 NAssER MARtiN-GOUssET Pacifique 94 COmpAGNIE MONTAlvO-HERviEU Orphée 96 THÉÂTRE BAÏBARS, LE MAMELOUK QUI DEviNT SUltAN D’après le Roman de Baïbars 102 BRODSKY CONCERts Based on the work of Joseph Brodsky 104 LES JUstES Albert Camus 106 LE SOLEil MÊME plEUT Françoise Berlanger 110 ICH UND KAmiNSKI Daniel Kehlmann 116 TÖTEN Daniel Kehlmann 118 RUHM Daniel Kehlmann 120 UN TRAMWAY D’après A Streetcar Named Desire de Tennessee Williams 124 6 THE COmplETE WORKS OF WilliAM SHAKEspEARE (GEKIERZT) Troupe Grand-Ducale de Shakespeare 126 SUNKEN RED Jeroen Brouwers 128 THE TRIAL OF SOCRATES Socrates’ Apology as written down by Plato 132 KABALE UND LIEBE Friedrich Schiller 134 DiE PERSER Aischylos 138 DIE HAMLETMASCHINE Heiner Müller 140 HAmlET William Shakespeare 144 RHINOCÉROS Eugène Ionesco 146 JUNglES Patrice Thibaud & Philippe Leygnac 148 COCORICO Patrice Thibaud & Philippe Leygnac 150 SPECTACLES JEUNES PUBliCS MÄUSEMÄRCHEN UND RiESENGESCHICHTE Musiktheater für Kinder von 6-10 Jahren 156 SOMMERFLÜGEL Ein Spiel mit Licht und Schatten für Kinder von 2-4 Jahren 157 ZAUBERFLÖTE - EINE PRÜFUNG Musikalisches Volkstheater für Kinder ab 8 Jahren 160 CARRÉ LE CARRÉ CURIEUX Spectacle de cirque tout public à partir de 6 ans ROTONDES 161 CARRÉ OUPS Spectacle de danse tout public à partir de 6 ans ROTONDES 162 CARNAVAL DES ANimAUX Théâtre musical pour enfants de 5-9 ans 163 7 GRAND THÉÂTRE DE LUXEMBOURG € OPÉRA & THÉÂTRE MUSICAL Adrian Noble Dan Jemmett Sasha Waltz Peter Brook Andreas Spering Thomas Hengelbrock Lukas Hemleb Alain Planès Evelino Pidò Pablo Heras-Casado Abbas Kiarostami Emmanuel Krivine 8 L M M J V S D 1 2 3 OCTOBRE 2010 Mardi 5, Jeudi 7 et Samedi 9 4 5 6 7 8 9 10 À 20h00 DURÉE 3h00 & entracte 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Adultes 65 €, 40 €, 25 € / Jeunes 8 € GRAND THÉÂTRE DE LUXEMBOURG € COSÌ FAN TUttE WOLFGANG AmADEUS MOZART (1756-1791) OpERA BOUFFA EN DEUX ACTES / LivRET DE LORENZO DA PONTE CRÉÉ LE 20 JANviER 1790 AU BURGTHEATER DE VIENNE EN ITAliEN, AVEC SURTITRES EN FRANÇAis ET AllEMAND DiRECTION MUsiCALE Andreas Spering MisE EN SCÈNE Abbas Kiarostami COllABORATRICE À LA misE EN SCÈNE Emmanuelle Bastet SCÉNOGRAPHIE ET COSTUMES Chloé Obolensky LUmièRE Jean Kalman DRAMATURGE, INTERPRÈTE Massoumeh Lahidji FiORDiligi Sofia Soloviy DORABEllA Sophie Harmsen DEspiNA Judith van Wanroij FERRANDO Joël Prieto GUgliElmO Edwin Crossley-Mercer DON AlFONSO William Shimell ChœUR du Festival d’Aix-en-Provence ORCHESTRE Capella Augustina PRODUCTION 2008 Festival d’Aix-en-Provence COPRODUCTION English National Opera, Grand Théâtre de Luxembourg Dans le cadre de 10 CosÌ fan tutte © Elisabeth Carecchio 11 FR Tout commence par un défi, par un pari: Don une surprise, Abbas Kiarostami étonnera les Alfonso prétend que «così fan tutte» – qu’«ainsi spectateurs en ouvrant, grâce à son talent de ci- elles font toutes» –, qu’aucune femme ne reste néaste, le plateau du Grand Théâtre sur un hori- fidèle à ses serments amoureux. Ferrando et Gu- zon nouveau, enchanteur. glielmo refusent d’accepter pareil constat cyni- que et parient que leurs deux belles, Fiordiligi » Partant de l’idée que ce forban d’Alfonso est à et Dorabella, leur resteront fidèles! Jeunes gens la fois philosophe et psychanalyste, professions présomptueux, quel risque avez-vous pris là! dont «la tâche ne consiste pas à faire du bien Certes, tout finira bien. Vraiment? mais à faire progresser» (Rousset), et qu’accepter un diagnostic, même inquiétant, permettra «de se Le livret de cet opéra, dû à Lorenzo Da Ponte, est soigner et de sauver sa vie» (Kiarostami), les maî- délicatement subtil dans sa façon de faire appa- tres d’œuvre ont donné de cette «école des amants» raître sous les développements souriants de la une lecture à la fois humaniste et séduisante, ins- comédie des vérités humaines douloureuses. Si crite dans un visuel irrésistible... […] Tout y res- l’on rit de cette bonne plaisanterie bien menée pire la beauté, l’insouciance, l’aisance, la liberté. dans ses subterfuges et ses déguisements, le Martine D. Mergeay, La Libre Belgique cœur se serre aussi. » Le cinéaste iranien a le bon goût de jouer à Mais surtout, au-delà de l’intrigue, l’essentiel est fond la dimension méditerranéenne d’un récit qui dans la musique de Mozart. C’est elle en fait, et se passe à Naples. La projection en fond de scène non les mots, qui nous parle, qui nous touche et qui de paysages filmés crée une ambiance magique: nous émeut. Così fan tutte est un de ces opéras où bleu du ciel et de la mer, ocre des montagnes. En- elle est extrêmement nuancée dans l’expression tre douceur et majesté, cette vision prolonge l’hé- des intermittences des cœurs et des âmes. Comme donisme de l’instant […]. il est à la fois joyeux, exalté, ému, douloureux, Serge Martin, Le Soir cruel, ironique, déchiré, désespéré, moqueur le chant de ses interprètes. Comme il est beau. » Comme le goût du fruit dans le chef-d’œuvre cinématographique de Kiarostami, la saveur de la Abbas Kiarostami, le cinéaste iranien, Palme musique, dans l’opéra de Mozart, restitue à l’exis- d’or au Festival de Cannes 1997 pour Le Goût de tence son suc infiniment précieux et délectable. la Cerise, a précieusement installé sa mise en Gilles Macassard, Télérama scène dans un XVIIIe siècle somptueusement reconstitué; une reconstitution qu’accomplis- DE Immer dieses Misstrauen! Don Alfonso ist sent la scénographie et les costumes de Chloé nicht davon abzubringen, dass „così fan tutte“, Obolenski, que magnifient les lumières de Jean dass sie „alle es so machen“. Vor allem die Frau- Kalman (certains se souviendront du rôle im- en. Keine einzige, behauptet der alte Philosoph, portant de ce duo dans le récent Mort à Venise wird ihrem Geliebten treu bleiben wenn sich de Benjamin Britten). Et, mais cela doit rester nur die richtige Gelegenheit ergibt. Ferrando 12 und Gugliemo sind angesichts einer solch zyni- Distanz und Klarheit, die die Erschütterungen schen Behauptung fassungslos. Für ihre beiden und Gefühlsverwüstungen hinter dem vermeint- Schönen, Fiordiligi und Dorabella, da sind sie lich heiteren Verwechslungsspiel hervortre- absolut sicher, gilt das in keinem Fall. Aber die ten. […] Es ist eine leise Dialektik, deren Humor beiden sind noch sehr jung, und ehe sie sich ver- manchmal noch die kleinsten Gesten der beiden sehen, hat Don Alfonsos Spiel bereits begonnen. Liebespaare erfasst. […] Vor der Weite der riesi- Wie wird es ausgehen? gen Bucht erscheinen die menschlichen Irrun- gen und Wirrungen keineswegs klein oder gar Das Libretto von Lorenzo da Ponte ist ein Mus- albern. Im Gegenteil, das Meer nimmt die Leiden- terbeispiel psychologischer Tiefenbohrung. Im schaften auf und wirft sie in Schönheit zurück. unbeschwerten Habitus der Komödie legt der Die Zeit Text die schmerzlichsten Wahrheiten frei. Über uns selbst. Während wir über das heitere Intri- EN One of the three Mozart operas for which genspiel auf der Bühne lachen, zieht sich unser Lorenzo Da Ponte wrote the libretto, Così fan tutte Herz zusammen. is often viewed as dark and ambiguous. Indeed, its theme of female fickleness was considered Der eigentliche Kern der Oper liegt natürlich risqué during the more conservative periods jenseits aller Worte, jenseits aller Listen und of the 19th and early 20th centuries. But Mozart Verstellungen: In der Musik Wolfgang Ama- wrote the music at the height of his powers and deus Mozarts. Überreich an feinsinnigen Aus- it is aptly witty and stirringly sentimental. The drucksmitteln und subtilen Zwischentönen ist production is directed by Iranian film maker sie gleichermaßen harmonisch wie zerrissen, Abbas Kiarostami, whose Le Goût de la Cerise hoffnungsvoll wie desillusionierend, und dabei won the Palme d’Or at Cannes in 1997. immer von überwältigender Schönheit … Der iranische Filmemacher Abbas Kiarostami hat 1997 für Le Goût de la Cerise in Cannes die Goldene Palme verliehen bekommen. Zusam- men mit Chloé Obolenski (Bühne und Kostüme) und Jean Kalman (Licht) lässt er in seiner Insze- nierung die ganze Pracht des 18. Jahrhunderts wiedererstehen. Die Bühne des Grand Théâtre wird dabei zum Projektionsraum zauberhaf- ter Bilder an der Schnittstelle von Film und Theater. » Abbas Kiarostami [lässt] mit der für seine Filme typischen Mischung aus philosophischer
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