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18 december 2020
- En vidéo
- Free of charge
At the end of the 18th century, the Tuileries Palace hosted the Concert de la Loge Olympique. This group revolutionized the practice of the concert, mixing genres and artists, with the sole ambition of bringing together music lovers, regardless of the eclecticism of the programming. Symphonic music, operatic arias and chamber music could succeed one another during the same evening.
In the Paris of the time, the craze for Haydn was such that he infiltrated all aspects of musical life, and each concert began and ended with one of his symphonies. They were even played during the intermissions of comedies and lyrical tragedies.
This program will highlight the theatricality of Haydn’s music, which today is often marginalized alongside the fascination exerted by that of his young friend Mozart.
In addition to the richness and revolutionary innovations of these two composers, Gaëlle Arquez will interpret operatic characters who transgress the forbidden, from the agitations of Cherubim to the conspiracies of Sextus and the political act of Idamante.
This evening will also be an opportunity to reconnect with the spontaneity of the audience at the time, who, far from today’s codes, did not hesitate to react and express their emotions by singing a tune or clapping after a movement. So it will also be up to the audience to blow this revolutionary wind into the room !
Symphonie Parisienne N°82 en ut majeur L’Ours (I : Vivace, II : Allegretto)
Wolfgang Amadeus Mozart
Les Noces de Figaro: “Non so piu cosa son, cosa faccio”, “Voi che sapete”
Symphonie n°41 “Jupiter” en ut majeur K.551 (I. Allegro Vivace)
Idoménée: “Non ho colpa, e mi condanni”
Symphonie n°41 “Jupiter” en ut majeur K.551 (IV. Molto Allegro)
La Clémence de Titus: “Parto, parto, ma tu ben mio”
Symphonie Parisienne N°82 en ut majeur L’Ours (III. Menuet – Trio, IV: Finale – Vivace assai)