2020 I 2021 SEASON MAGIC MOZART STAGE CREATION DIFFUSION SUMMER - FALL 2020 Diffusion: Summer-Fall 2020 insulaorchestra.fr MAGIC MOZART STAGE CREATION Wolfgang Amadeus Mozart (1756-1791) Excerpts from chosen works: Duration : 1h15 without interval Le Nozze di Figaro Die Zauberflöte Numbers : Cosi fan Tutte 4 soloists, 42 musicians Don Giovanni Der Stein der Weisen Diffusion: La Finta semplice Summer-Fall 2020 Bastien und Bastienne Die Entführung aus dem Serail Olga Pudova, soprano Lea Desandre, mezzo-soprano Ben Bliss, tenor Armando Noguerra, baritone This programme will be recorded for a Warner Classics- Cie 14:20 Erato disc. Insula orchestra Laurence Equilbey, conductor Mozart’s music is magic. Insula orchestra takes the statement literally, offering a selection of works and musical extracts in which the wonderment of magical experience is a central theme. Known by the music lovers as well as by the general public, these poetic or comical melodies, duos and ensembles are performed in a succession of short, diverting and enchanting acts. The Magic Flute, Mozart’s last opera, composed in 1791, is of course the cornerstone, with its magic bells, bewitched animals and Queen of the Night. But we will also find there some characters from the Marriage of Figaro, Don Giovanni, La Finta semplice, Bastien und Bastienne, or from the more unusual Der Stein der Weisen (The Philosopher’s Stone). This Magic Mozart will present three different climates: the kindness of white magic ; the tumult of love and passion, found in red magic - with such Arias as Don Giovanni’s Canzonetta or «Porgi amor» ; and finally, the torments of black magic, motivated by revenge and perfecly symbolized by the famous Queen of the Night Aria « Der Hölle Rache ». For the stage version, Insula orchestra invited the company 14:20, pioneer of the New Magic arts movement, that, over the last 15 years, has been challenging our sensory equilibrium and sense of reality as a focus for its stage work, postulating magic as a rich and independent language, both popular and of its time. 14:20 has come up with a dizzying show replete with magic tricks for a Mozart programme that enchants as much as it is enchanted. IN THE PRESS About Mozart’s Lucio Silla by Insula orchestra (spring 2016) “Not for nothing Laurence Equilbey refers to her proximity to Nikolaus Harnoncourt (“he was an alche- mist”). She managed to unfold a wide array of colours from the historic instruments of the excellent Insula orchestra and she demonstrates a true passion for music. The evening ends in a thunder of applause. This Lucio Silla could flourish in Vienna.” Ernst Strobl, Salzburger Nachrichten “Insula orchestra played Mozart’s intricate score with élan and sensitivity. The many sforzando and fortepiano markings were meticulously observed and there was admirable attention to orchestral de- tail. Period brass were excitingly raspy and the strings had a bright sonority.” Jonathan Sutherland, Bachtrack 2 insulaorchestra.fr STAGING Guidelines Cie 14:20 is seeking to connect with the abstract dimension of music, rather than with sung theatre: hence its decision to decontextualize (a bare set and non-period-specific costumes) and to create a dialogue with the music. Parallel to the storytelling text and bodies, the company seeks to magically render the unspoken, the concealed and hidden meanings. The apparently bare stage gives the audience the feeling that it is not being told everything. The scenographic setup should enable work on several levels: — Mute scenes in the background or paralleling the action (characters who may appear and interact with the reality). — Floating stage directions: they are given pride of place in the scenography in the form of holograms of words revealing objects (a performative process). Hence a specific focus on the surtitling. — Relative to gravity: some characters can be treated differently from the other characters and can modify the gravity effects when on stage. Technical aspects Sound — Spoken sections will be amplified — Singing behind the paper ghost for certain specific musical sections will not be a problem. — The bare stage is problematic in that it provides no elements to acoustically support the singers. The company will factor in Laurence’s recommendations and have the soloists sing the arias facing the audience. Action on different levels — Depth of field effects will be achieved by frontal projection and distant back-projection. — Paper ghost: this special tulle netting can be used to create a virtual choir and virtual accessories. — A combination of holograms and levitation will give the impression that the hologram acts on objects or real people. 3 AUDIO / VIDEO RECORDS Magic dance by 14:20 on a Cavatina from Don Giovanni. Excerpt from Mozart ‘s Lucio Silla, with Insula orchestra and Laurence Equilbey. MOZART CDS MOZART MOZART REQUIEM VESPERAE SOLEMNES DE CONFESSORE CORONATION MASS Sandrine Piau, Sara Mingardo, Sandrine Piau, Werner Güra, Renata Pokupić, Christopher Purves Benjamun Bruns, Laurence Equilbey, Andreas Wolf, accentus, Laurence Equilbey, Insula orchestra accentus, Insula orchestra naïve September 2014 Warner Classics – Erato April 2017 « And for all Equilbey’s avoidance of theatricality it’s the sense of detail, care and “Laurence Equilbey signs an interpretation attention she imparts as well as fluency that of the Coronation Mass where animation makes her interpretation memorable ». tends towards euphoria without risking any BBC Music Magazine disequilibrium.” Le Monde SUPPORTERS CONTACTS Samuel Serin, Managing Director David Bodou, External relations manager [email protected] [email protected] +33 (0)6 03 21 13 67 +33 (0)6 87 88 26 32 4 insulaorchestra.fr.