the next Aix-en-Provence Festival gives pride of place to young artists and women

Pierre Audi did not hide his satisfaction at the end of the last Aix-en-Provence Festival. After a 2020 edition in an exclusively digital version (concerts, recitals and conferences), the resumption of the summer of 2021, still in the midst of a pandemic but without restriction of gauge, has indeed smashed records. Seven new opera productions, including two world premieres, including Kaija Saariaho’s fifth opus, Innocence, which achieved a triumph comparable to that of the Written on Skin, by George Benjamin in 2012. Not content with this public and critical success, the summer lyrical event, which boasted of not having recorded any defection among international artists, also posted a fill rate of 85% and 38,000 seats sold.

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It is therefore galvanized by these buoyant winds that the director of the Festival d’Aix-en-Provence, whose mandate has just been renewed for four years, announced, Wednesday, November 24, a 74e edition with the evocative title – “Crossing the ordeal and being reborn” -, which will be held from July 4 to 23, 2022. An even more extensive program than the previous one: no less than ten lyrical productions, including three in concert version at the Théâtre de l’Archevêché – Orfeo, from Monteverdi, Orpheus and Eurydice, by Gluck (in the version reviewed by Berlioz under the direction of Raphaël Pichon) as well as The rule, de Bellini – Riccardo Minasi’s wand will bring together Karine Deshayes, Michael Spyres and Nina Minasyan.

“Resurrection” at the Stadium of Vitrolles

As in 2019 with the Mozart Requiem, the Festival d’Aix will open with a show by Romeo Castellucci, this time inspired by the Second Symphony, by Mahler, Resurrection. At the desk, Esa-Pekka Salonen. Like The Arab Apocalypse, by Samir Odeh-Tamimi, presented at the LUMA Arles Foundation, the festival is invited to another unusual place, the Stadium of Vitrolles, designed in 1990 by Rudy Ricciotti on the former bauxite landfill, recently rehabilitated. Will follow the Salome, by Richard Strauss, directed by Andrea Breth, who will see the role of Elsa Dreisig, who was called in 2018 by the album morning published by Warner Classics: the Franco-Danish soprano tackled the terrible final scene in her French version of 1907. Raphaël Pichon was entrusted with theIdomeneo, by Mozart: with his ensemble Pygmalion, he will accompany the Aix debuts of Satoshi Miyagi, a great figure of Japanese theater. On the stage of the Archdiocese, the Electre by Sabine Devieilhe and the title role of the American tenor Michael Spyres.

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