Performed and directed by Andrea Jiménez, Casting Lear blends autofiction with Shakespeare’s text. Jiménez embodies Cordelia while inviting a different actor each evening to play Lear — a father imagined anew. The piece, staged as an audition or rehearsal, probes filial bonds, legacy and authorship, where memory and invention collide. Intimate and volatile, it investigates how antecedents haunt us and how one might invent a life that truly belongs to them.
In French.
FURTHER AFIELD
Bertrand Belin sculpts a deliberately wandering pop poised between rock and chanson, threaded with jazz and blues. On his latest album Watt he explores existential themes through poetic, mysterious and luminous writing. His crooner-like delivery and elegant harmonic language combine introspection with expansive, almost stellar arrangements, guiding the listener from intimate passages to wide sonic horizons. The concert offers an elegant, reflective musical voyage.
Autothérapie is a solo dance work that unfolds as a choreographic form of introspection. Fragmented sessions weave geography of memory, trauma and cultural references to explore Haiti, personal history and intergenerational memory. The piece favors intimate, physical staging and concentrated dramaturgy, inviting viewers into an embodied investigation of identity, inherited narratives and resilience. Rawness and poetic movement alternate, producing a dense emotional atmosphere that lingers beyond the performance.
Conceived as a dialogue between historical research and live performance, this second edition of Les Encyclopédiennes explores bel canto and the first currents of Italian Romanticism. Musicians from L’Encyclopédie shape a refined programme that moves from lecture and vocal reflection to concert performance, with Bénédicte Tauran in the workshop and young talents from the HEM in the Ex-Libris concert. The atmosphere is intimate, lyrical, and intellectually charged.
In English.
Directed by Eléonore Bonah and staged by scenographer Maria Clara Castioni, CHRÜSIMÜSI transforms Adelheid Duvanel’s terse, poetic fragments into a multilingual theatrical tapestry. Performers Eléonore Bonah and Maria Clara Castioni inhabit hypersensitive, marginal characters whose everyday gestures oscillate between absurdity and tenderness. Sparse staging and a careful interplay of voice and silence highlight Duvanel’s Kafkaesque intimacy, while language shifts (French, German, Italian) create a fragile, dreamlike atmosphere that balances humour and quiet despair, celebrating stubborn acts of resistance.
Part of the Saison du 150ᵉ, this opening chapter gathers young musicians from the HEM to reimagine Geneva’s musical heritage through operetta and classical repertoire. Programmes range from Offenbach and Fauré to Jaques‑Dalcroze and Mussorgsky, presented by Compagnie MoZaïk’s, La Compagnie à Trois Temps and soloists Eva Viegas and Xaverine Lefebvre. The evenings balance historical intimacy and theatrical storytelling, blending lyricism, playful wit and vivid narration to create a warm, reflective experience.
In French.
Two short plays by Anton Chekhov staged by Tibor Ockenfels and Flavie Tapparel, presented as compact dramatic machines where romantic comedy masks escalating confrontations between desire, affection and material interest. Performances rely on precise physical timing, terse exchanges and a lean, playful design to reveal the simmering violence behind courtship rituals. The three actors — Estelle Bridet, Matteo Prandi and Raphaël Vachoux — inhabit heightened character types that shift between farce and darker comic truth, creating a sharply observed, kinetic evening.
In French.
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