Paris performance rentrée: new creation, classic music and creative retrospectives [by Tracy Danison]
Paris Performance Agenda is a work-in-progress “dance syllabus”, a “to-see agenda” of dance performance complemented by essays and articles about esthetics, creation and creativity along with interviews of creators and performers in The Best American Poetry and other publications.
For the beginning of the Season 2019-2020, my head has highlighted intriguing retrospective work by the well-known choreographers Jérôme Bel and Philippe Decouflé. Without ignoring such emotion-rallyers as Saburo Teshigawara performing things like Berlioz’s Symphonie Fantastique (recommended by DanseAujourdhui’s Catherine Zavodska, at the Philharmonie de Paris) or Jan Martens’ erotically tense Sweat Baby Sweat, my heart has chosen creation by artists whose esthetic power I admire, including Yasmine Hugonnet, Myriam Gourfink and Latifa Laâbissi or such artists as Florence Casenave, Aurélie Berland, Carole Quettier or Nina Vallon, whose performance ideas tease my esthetics. Work by Vallon, along with Aurelie Berland, among others, makes up the really intriguing offer of new creation riding classical music and choreographies for Micadanse’s Bien Fait! 2019 program. The tense emotion of Jan Martens’ Sweat Baby Sweat and the playful exploration of Yasmine Hugonnet’s Se Sentir Vivant both feature in Lafayette Anticipations’ Echelle Humaine 2019 program.
DANCE, PERFORMANCES & CREATORS TO LOOK FOR, PARIS RENTREE 2019
Les Traversées du Marais 2019: Voyages spatio-temporels – Performance & Dance • 2019 • Les Castellers de Paris & Bruno Benne • Micadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 8 September 2019: three Voyages of between 20 - 40 minutes from 15h to 17h30 • Bien Fait! 2019 dance festival • Α Les Castellers de Paris are acrobats and dancers using traditional dance and performance in modern contexts. This Voyage in space and time includes a street-side acrobatic “castlebuilding” show based on a Catalonian tradition recognized as part of our universal cultural heritage by the UN, followed by Baroque-era dancing and music.
infini – Dance performance • 2019 • Boris Charmatz • 60 minutes • Théâtre de la Ville - Espace Cardin, Paris, 10-14 September, 20.30h • Festival d’Automne 2019 • Α Premiered this past June at the Montepellier Dance Festival, the choreographer continues his always fascinating and generally successful modus operandi of using dance-movement to perform complex themes. Infini explores gesture and symbolic effect through dance, sound and numbers. In addition to hisperformance will be using young performers drawn from suburban dance conservatories where they have been working with Charmatz on a piece called Levée des conflits, an attempt create total (unbroken) movement. Ω Choreography: Boris Charmatz / Performers: Régis Badel, Boris Charmatz, Raphaëlle Delaunay, Maud Le Pladec, Tatiana Julien (alternately), Fabrice Mazliah, and Solène Wachter / Vocal work: Dalila Khatir / Sound: Olivier Renouf / Lighting: Yves Godin / Costumes: Jean-Paul Lespagnard / Produced: cie Terrain
TRACES – Performance dance • Creation • 20 minutes • Eva Klimackova • Micadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 16 September 2019, 20h, along with Midi sans paupière by Carole Quettier • Bien Fait! 2019 dance festival • Α Traces uses dance movement to explore how performers use listening and the quality of the performance space to create each other. Eva Klimakova wants to work with the nude body as a distanced or “strange” presence, looking at the body as “a work of art, plastic, modulable, malleable … an opportunity to read the body as a language” ... Ω Choreography: Eva Klimackova / Performers: Céline Angibaud, Eva Klimackova, Fabien Almakiewicz/ Music: Vincent Epplay / Lighting: Yann Le Bras
Midi sans paupière – Dance performance • Creation • Carole Quettier • Micadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 16 September 2019, 20h, along with Traces by Eva Klimackova • Bien Fait! 2019 dance festival • Α In this solo expressionist dance performance, Carole dances the sense between the lines of the Scarlet Letter’s Hester Prynne to music by Arnold Schoenberg, Wolfgang Amadeus Mozart, Franz Schubert, Sergei Prokofiev. Midi is dedicated to Martine Clary, a classical dancer from the very traditionalist Opéra de Paris, who became a founding performer with the Théâtre de Silence (Jacques Garnier & Brigitte Lefèvre, 1972), one of the first exclusively modern dance troupes in France. In 1981, when Jacques Garnier was tapped to head up the Groupe de recherche chorégraphique de l’Opéra de Paris (GRCOP), which had a mission to raise public awareness of dance, Clary was again a founding performer. Her role in GRCOP’s Le Cordon infernal, a free public performance based on the now-celebrated cartoonist Claire Bretecher’s depiction of a family roped together and set in the vast space of the Opéra (Auber) metro-RER station, is legendary. After Garnier’s death in 1989, Clary took up teaching contemporary dance at the Conservatoire nationale de Musique et de Danse, where her teaching was much appreciated and her students legion. Martine Clary died in 2014 Ω Choregraphy and performance: Carole Quettier / Costumes: Catherine Garnier / Lighting: Manuella Rondeau
O. K. – Dance performance • Creation 2019 • Florence Casanave, cie LOUMA • Micadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 16 September 2019, 20h, along with Maintenant, oui by Gaël Sesboué Recital • Bien Fait! 2019 dance festival • Α Dance improv sublimed or exalted by the vibrations of an inspired magic zither within the ethers of J.-S. Bach’s Well-tempered Clavichord, Book 1, Fugue N#4 et N#12. Ω Choreography and performance: Florence Casanave / Music and sound arrangement: Florent Colautti / Musical performance: Blandine Verlet, harpsichord / Set design: Florence Casanave & Florent Colautti / Lighting and technical assistance: Gweltaz Chauviré / Set: Yann Lemaitre / Costume: Mélanie Clénet
Maintenant, oui – Dance performance • 2019 • Gaël Sesboué, cie Lola Gatt • Micadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 16 September 2019, 20h along with O.K. by Florence Casanave • Bien Fait! 2019 dance festival • Α Gaël Sesboué’s Maintenant, oui, a piece for four performers, organizes austere, clean-limbed dance performance around the model of the language logic punctuated with sense: Now (maintenant) is the present participle of keep up/hold on (maintenir)… Yes (oui). Keep up. The yes. Now. Present participle (participe). Participate in (participer à). Writing (l’écriture). The present (présent). Share in (participer de). Writing (l’écriture). Our present (de notre present). Through the Yes (Par le oui). By keeping it up (Par son maintien). Dans un mouvement qui tient. Jusqu’à maintenant. Par le oui. Par son action pour quatre interprètes, fonctionne comme une métaphore de notre quotidien, de nos actions et déplacements, amenés à se répéter chaque jour et pourtant, chaque jour différents. Par la reprise et la réinvention de la partition, le chorégraphe questionne les cadres qui balisent notre quotidien afin d’en faire jouer les limites pour permettre de nouveaux Ω Choreography and concept: Gaël Sesboüé / Director: Gaël Sesboüé / Performers: Carole Perdereau, Annabelle Pulcini, Jérôme Andrieu, Alexandre Thery / Music and sound: Vincent Raude / Lighting: Bénédicte Michaud / Costuming: Stefani Gicquiaud / Production assistant: Marion Cachan
Sweat Baby Sweat – Dance performance • 65 minutes • 2011 • Jan Martens • Lafayette Anticipations, 9, rue du Plâtre, 75004 Paris, 19 September 2019, 20.30h • Echelle Humaine dance festival • Festival d’Automne 2019 • Α Sweat Baby Sweat makes you really glad hip hop brought athleticism to the gestural elegance traditional to dance. Baby, take me: Jan Martens series of reflections on how to treat one’s life partner, the slow, continuous show of the limits of strength has made one of the most sensual pieces ever seen. Ω Choreography and performance: Jan Martens with Kimmy Ligtvoet and Steven Michel / Music arrangements: Jaap Van Keulen / Dramaturgy : Peter Seynaeve/ Production : Frascati Productions, ICKamsterdam, TAKT Dommelhof and JAN vzw
Tout doit disparaître ! (everything must go!) – Dance, Performance, Music • 2019 • Philippe Decouflé, Cie DCA • Théâtre National de Chaillot, 27 September - 6 October 2019 • Season 2019-20 Théâtre National de la Danse • Α Philippe Decouflé takes audiences for a stroll through his evolution as choreographer and Cie DCA’s past and present work, literally, as this four-hour performance extravaganza occupies both auditoriums, its monumental foyers and other High Art Deco noks and crannies. The offerin includes work over 30 years, including Triton (1990); Tranche de cake (1994); Petites pieces montées (1993); Decodex (1995); Shazam (1998); Triton 2ter (1999); Sombrero (2006); Coeurs croisés (2008); Octopus (2010); Contact (2014) and Wiebo (2016). Ω Choreography: Philippe Decouflé / Director: Philippe Decouflé / Assistant choreographers: Daphné Waksmann-Mauger, Olivier Simola / Music: Hughes de Courson, Joseph Racaille, Nosfell, Pierre Le Bourgeois, Sébastien Libolt / Video: Olivier Simola / Costuming: Philippe Guillotel, Laurence Chalou / Assistants: Peggy Housset and Jean Malo / Set design: Aurélia Michelin, Martine Besombes / Performers: Manon Andersen, Didier André, Flavien Bernezet, Dominique Boivin, Christine Bombal, Meritxell Checa Esteban, Stéphane Chivot, Muriel Corbel, Sophie Cornille, Coralie Corredor, Philippe Decouflé, David Defever, Véronique Defranoux, Herman Diephuis, Julien Ferranti, Clémence Galliard, Ludovic Gauthier, Sylvie Giron, Nathalie Hauwelle, Pascale Henrot, Pascale Houbin, Eric Houzelot, Benjamin Lamarche, Eric Martin, Sean Patrick Mombruno, Alexandra Naudet, Aurélien Oudot, Matthieu Penchinat, Aurélia Petit, Stéphanie Petit, Michèle Prélonge, Maxime Rigobert, Lisa Robert, Alice Roland, Nancy Rusek, Olivier Simola, Suzanne Soler, Rosalba Torres, Christophe Waksmann, Daphné Waksmann-Mauger (DANCE), Peter Corser, Louise Decouflé, Morgane Houdemont, Yannick Jory, Paul Jothy, Pierre Le Bourgeois, Sébastien Libolt, Nosfell, Joseph Racaille, Christophe Rodomisto with participation from students from the Conservatoire National Supérieur de Musique et de Danse de Paris and ballet supervisors Silvia Bidegain and Céline Talon.
Portrait de groupe avec femme(s), (Part 1 of 2) – Dance performance • 2018-2020 • Claire Durand Drouhin, cie Traction• Micadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 27 September 2019, 20h - studio May B • Bien Fait! 2019 dance festival • Α The title of part 1 of Claire Durand-Drouhin’s Portrait de groupe avec femmes (Group portrait with women) calls to mind Heinrich Böll’s celebrated Gruppenbild mit Dame (Group portrait with lady), a story of an ordinary woman at grips with the intense tacit and explicit misogynies of Germany’s National Socialist period. In contrast, in what is meant to be a very physical invocation of the meaning of being woman. Durand Drouhin’s piece uses synchronization of movement and a classical Persian percussion music called Daf after the hand-drum used to produce it to create a sensibility among five performers “united by a single breath”. Ω Choreography: Claire Durand-Drouhin / Performers: Pauline Bigot, Claire Durand-Drouhin, Inés Hernandez, Haruka Miyamoto, Jyotsna Liyanaratne / Music: Angel dance by Mohsen Taherzadeh, Hossein Alizadeh, Leila Han, Cooperman hand drums
Les statues meurent aussi – Dance performance • 2019 • Aurélie Berland, cie Gramma • Micadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 27 September 2019, 20h - Studio May B • Bien Fait! 2019 dance festival • Α The filmmaker, photographer and essayist Chris Marker remarked à propos his film Les Statues meurent aussi (“Statues Also Die”) that “an object is dead when the face that looked at it has died”. Since first forming cie Gamma in 2014, performer Aurélie Berland has been looking at how an aesthetic is transmitted through time, how dance movement is transmitted into new contexts. Notably, she has reconstructed and renewed work by Doris Humphrey, Lucinda Childs and Martha Graham. In this series of performance around Beethoven’s Seventh Symphony, she is taking up the rich aesthetic of modern dance in Germany with reconstruction of work by Rudolf Laban (1879-1958), Irmgard Bartenieff (1900-1981), Dorothee Günther (1896-1975) constructed by choreographer Gundel Eplinius (1920-2007), a student and disciple of Mary Wigman (1886-1973), the country’s pioneer of expressionist dance and dance therapy. Ω Choreography: Gundel Eplinius, reconstructed by Aurélie Berland / Performer: Anne-Sophie Lancelin / Music: Ludwig Van Beethoven, 7th Symphony in A major, Opus 92 (Wilhelm Furtwängler, 1943) and extracts from Carl Orff’s Carmina Burana cantata (Eugen Jochum, 1968)
Rétrospective – Video Dance Performance • 2019 • Jérôme Bel, cie R.B. Jérôme Bel • 80 minutes • Théâtre des Abbesses, Paris, 27 -29 September 2019 • Festival d’Automne 2019 performance arts festival • Α For his 20th création Jérôme Bel has put together a rétrospective video of his work and themed it around the rôle of political consideration in dance creation; out of concern for the environment, Bel’s company no longer uses air travel and; he points out, making and distributing this latest work has required and will require no environment-unfriendly travel. Bel has stitched together extracts from 18 of what he considers his important pieces to visually explore his central concerns: the body, language, power and vulnerability. Ω Conception: Jérôme Bel / Image research: Céline Bozon, Pierre Dupouey, Aldo Lee, Olivier Lemaire, Marie-Hélène Rebois / Image Editors : Yaël Bitton and Oliver Vulliamy / Performers (in video) : Taous Abbas, Fanny Alton, Cédric Andrieux, Sheila Atala, Sonja Augart, Michèle Bargues, Jérôme Bel, Ryo Bel, Malik Benazzouz, Remo Beuggert, Nicole Beutler, Gianni Blumer, Céline Bozon, Damian Bright, Matthias Brücker, Carine Charaire, Vassia Chavaroche, Germana Civera, Houda Daoudi, Diola Djiba, Shadé Djiba, Olga De Soto, Véronique Doisneau, Juan Dominguez, Moussa Doukoure, Dina Ed Dik, Chiara Gallerani, Nicolas Garsault, Ito Glissant, Matthias Grandjean, Stéphanie Gomes, Claire Haenni, Julia Häusermann, Sara Hess, Olivier Horeau, Miranda Hossle, Benoît Izard, Cuqui Jerez, Marie-Yolette Jura, Peter Keller, Maxime Kurvers, La Bourette, Akira Lee, Aldo Lee, Françoise Legardinier, Lorraine Meier, Eva Meyer Keller, Ion Munduate, Henrique Neves, Tiziana Pagliaro, Gisèle Pelozuelo, Carlos Pez, Magali Saby, Oliviane Sarazin, Frédéric Seguette, Esther Snelder, Johannes Sundrup, Simone Truong, Pierre Tu, Amaia Urra, Peter Vandenbempt, Hester Van Hasselt, Simone Verde / Assistants : Chiara Gallerani, Maxime Kurvers / Artistic direction : R.B. Jérôme Bel, Rebecca Lasselin / Administration: Sandro Grando / Production: cie R.B. Jérôme Bel
Glissement d’infini – Performance dance • 2019 • Myriam Gourfink • 30 minutes • Musée de l'Orangerie, Paris, 30 September 2019, 19h • Festival d’Automne 2019 performance arts festival • Α Myriam Gourfink has created an in situ performance for the Nymphéas rooms at the Musée de l’Orangerie, renewing the spaces and volumes of Monet’s famous painting. Ω Conception: Myriam Gourfink / Choreography: Myriam Gourfink / Performers: Carole Garriga, Deborah Lary, Azusa Takeuchi, Véronique Weil / Music: Kasper T. Toeplitz / Musical performance: Kasper T. Toeplitz and Elena Kakaliagou Production: Les Spectacles Vivants & Centre Pompidou (Paris)
Isadora Duncan – Dance performance • 2019 • Jérôme Bel, cie R.B. Jérôme Bel • 60 minutes • Centre Pompidou, Paris, 3-5 October 2019 • Festival d’Automne 2019 performance arts festival • Α Jérôme Bel’s Isadora Duncan, first produced at the Deutsches Theater, Berlin is a solo for Elisabeth Schwartz, who is also a dance historian specialized in Isadora Duncan’s repertory. Schwatrtz’s performance, which is part of Bel’s ongoing series of choreographic portraits begun in 2004 and the first portrait of a historic figure, is based on her reading of Duncan’s autobiography, Ma vie. As Bel no longer uses air travel out of concern for the environment, a Skyped version of Isadora Duncan by Catherine Gallant is being performed in New York. Ω Concept: Jérôme Bel / Chorégraphy, Isadora Duncan / Performers: Elisabeth Schwartz / Assistant, Chiara Gallerani / Artistic direction: R.B. Jérôme Bel, Rebecca Lasselin / Administration: Sandro Grando / Production: cie R.B. Jérôme Bel
Symphonie Fantastique – Music, Dance • 20 • Saburo Teshigawara • 60 minutes • Philharmonie de Paris, Grande Salle Pierre Boulez, Paris, 4 October 2019 • Recommended by DanseAujourdhui • Α As his performance in Dostoyevsky’s The Idiot amply demonstrates, Saburo Teshigawara can project feeling like few other performers. Catherine Zavodska writes that Teshigawara’s interpretation of the celbrated symphony is “total art”, a visit to Berlioz’s musical universe that brings his magical and romatic vision to life as if it were a première. The multifaceted charm of Berlioz’s composition and its call on all an orchestra’s resources is perfectly matched by Teshigawara’s inventiveness as much in interpration as in lighting and and costumes. Ω Choreography: Saburo Teshigawara / Music: Orchestre National de Lyon / Production: Orchestre National de Lyon & Philharmonie de Paris
White Dog – Performance dance • 2019 • Latifa Laâbissi, cie Figureproject • 60 minutes • Centre Pompidou,, Paris, 10-14 September • Festival d’Automne 2019 performance arts festival • Α Premiered at the Théâtre Joliette, Marseille, earlier this year, Latifa Laâbissi’s latest creation is, like Consul & Meshie, a look into the collective heart of human beings, how they define themselves, how they transform, done with a fine humor and a profound respect for and knowledge of the art of movement. Ω Conception: Latifa Laâbissi / Performers: Jessicat Batut, Volmir Cordeiro, Sophiatou Kossoko, Latifa Laâbissi / Artistic collaboration: Isabelle Launay / Set design and costuming: Nadia Lauro / Sound: Manuel Coursin / Lighting: Leticia Skrycky / Technical direction: Ludovic Rivière / Production: cie Figure Project
Soundance, Fabrications & Four Walls - Merce Cunningham – Dance, Music • Soundance (1975, Detroit Music Hall) / Fabrications (1987, Cyrus Northrop Memorial Auditorium, University of Minnesota, Minneapolis) / Four Walls (1944, Perry-Mansfield Workshop, Steamboat Springs, Colorado) • CCN - Ballet de Lorraine • Season 2019-20 Théâtre National de la Danse, Paris, 12 - 16 October 2019 • Festival d’Automne 2019 performance arts festival • Α Petter Jacobsson and Thomas Caley use free interpretation of “story dance” Four Walls – a first collaboration between Merce Cunnigham and John Cage – danced with the inimitably diverse talent by CCN – Ballet de Lorraine and interpreted live by pianist Vanessa Wagner, to close what they conceive as a homage to the great choreographer. The approach to Soundance and Fabrications focuses on bringing out what Jacobsson and Caley see as the fundamentals of Cunningham’s choreography: sound, spontaneity (chance) and situation. Soundance, to David Tudor’s original composition, reveals bodies in recursive deconstructive movement while Fabrications brings out how Cunningham used the model of the throw of dice of I Ching divination to model in chance. Ω Sounddance Chorégraphy: Merce Cunningham / Music: David Tudor / Choregraphic arrangement: Thomas Caley, Meg Harper / Performers: 10 CCN – Ballet de Lorraine troupe performers TBA / Lighting, costuming and décor: Mark Lancaster / Coaching: Thomas Caley / Fabrications Choreography: Merce Cunningham / Music: Emanuel Dimas de Melo Pimenta / Choregraphic arrangement: Thomas Caley / Performers: 15 CCN – Ballet de Lorraine troupe performers TBA / Lighting: Josh Johnson / Costuming and décor: Dove Bradshaw / Production CCN – Ballet de Lorraine (Nancy) / Four Walls Choreography: Petter Jacobsson, Thomas Caley / Music: John Cage / Performers: 24 CCN – Ballet de Lorraine troupe performers TBA / Musical performance: Vanessa Wagner, piano / Lighting: Eric Wurtz / Set design: Petter Jacobsson, Thomas Caley / Costumes: Petter Jacobsson, Thomas Caley with Martine Augsbouger, Annabelle Saintier
Dying on Stage – Performance • Creation 2019 • 150 minutes x 3 • Christodoulos Panayiotou • Musée d'Orsay, Paris, 19 October - 14 December 2019 • Festival d’Automne 2019 performance arts festival • Α In opera there is nothing so risible as Don Juan’s death; there is nothing so risky in performance as a death scene. By taking his cue from Rudof Nureyev’s last days of life as dance, scuptor and performance artist Christodoulos Panayiotou manages to get a look at stage death in the round. In three “danced lecture” performances themed around the spectacle that is death, Panayiotou covers the gamut of genre choreographies, including by taboo and by mortal tragedy as well as by accidental trespass and fatal idealism. Dying on Stage presents over its three performances the entirety of Panayiotou’s collection of (mostly) film-death scenes. Ω Conception & performance: Christodoulos Panayiotou, with Jean Capeille / Production: Brave New Media
Trois Ballets: Pond Way, Walkaround Time, Cross Currents - Merce Cunningham – Dance performance • 80 minutes • Pond Way (1998, Opéra national de Paris): Opéra Ballet Vlaanderen / Walkaround Time (1968, State University College, Buffalo, New York): Ballet de l'Opéra national de Paris; Cross Currents (1964, Sadler’s Wells Theatre, London): Royal Ballet of London • 80 minutes • Season 2019-20 Théâtre National de la Danse, Paris, 22-26 October 2019 • Festival d’Automne 2019 performance arts festival • Α Each of these pieces puts on display Merce Cunningham’s notions of scenography and cross-artistic collaboration, literally. Opéra Ballet Vlaanderen explores Pond Way (score by Brian Eno). Walkaround Time, performed by the Opéra de Paris, is focused on the body with Marcel Duchamp’s abstract Le Grand Verre (Originally: “The bride uncovered by her suitors”) integrated into the set. Royal Ballet takes on Cross Currents, with its complexly criss-crossing soloists. Ω Cross Currents Choreography: Merce Cunningham / Music: Conlon Nancarrow / Choregraphic arrangement: Daniel Squire / Performers: 3 performers of the The Royal Ballet of London TBA / Lighting: Beverly Emmons / Costuming: based on the orginal by Merce Cunningham Pond Way Choreography: Merce Cunningham / Music: Brian Eno / Choregraphic arrangement: Andrea Weber / Set design: based on the original by Roy Lichtenstein / Performers: 13 performers of the Opera Ballet Vlaanderen of London TBA / Lighting: David Covey / Costuming: Suzanne Gallo Walkaround Time Choreography: Merce Cunningham / Choregraphic arrangement: Meg Harper, Jennifer Goggans / Music: David Behrman / Text: Marcel Duchamp, La Mariée mise à nu par ses célibataires, même [La Boîte Verte], Paris, 1934 © Succession Marcel Duchamp, 2019 / Decor: based on the orginal by Marcel Duchamp, La Mariée mise à nu par ses célibataires, même, dit Le Grand Verre, originally supervised by Jasper Johns/ Performers: 9 performers of the Ballet de l’Opéra national de Paris TBA / Costuming: based on the original by Jasper Johns, which is now in the Walker Art Center / Lighting: Beverly Emmons / Technical Coordination: Davison Scandrett / Sound engineer: Jesses Stiles
Disparitions – Music performance • 45 minutes • 2019 • Antonin Tri Hoang • Eglise Saint Eustache, Paris, 24 October 2019 • Festival d’Automne 2019 performance arts festival • Α Disparitions, “disappearences”, recalls pas perdus, the intriguing quality of a sound wandering into the universal silence. Antonin Tri Hoang knows how to play jazz clarinette, sax and piano like nobody’s business and he can lead a band of the best musicians around. His new challenge is to fill the great Gothic Ship of Saint Eustache – 105 meters long, 44 meters wide, 33 meters high – with music. Hoang intends to make it the great soundbox its architects intended (though, perhaps, not then envisaging jazz) by disposing twelve musicians throughout the church in resonance with its architects. Ω Conception & composition: Antonin Tri Hoang / Artistic collaboration: Julien Pontvianne / Performers: Elena Andreyev, violoncello; Prune Bécheau, violon; Elsa Biston, electronics; Gulrim Choi, gamba; Richard Comte, guitar; Jozef Dumoulin, organ and keyboards; Stéphane Garin, percussions; Amélie Grould, percussions; Antonin Tri Hoang, clarinet and saxophone; Julien Pontvianne, clarinet and saxophone / Lighting: César Godefroy / Production: Festival d’Automne à Paris