A contemplative programme for organ and a cappella choir, In Memoriam Mortuorum brings sacred resonance and choral clarity into close dialogue. Cantus Laetus de Genève joins organist Judith Trifellner-Spalt and conductor Natacha Casagrande in a performance shaped by solemn beauty, luminous harmonies, and a sense of collective remembrance. The music unfolds as an intimate meditation, balancing architecture and breath, ritual and emotion, in a spirit of depth and devotion.
Choreographer Aurélien Dougé investigates the relation between body and material in Sans titre (Barre d’acier). Performed solo on a square platform, the artist rotates continuously while holding a four‑metre steel bar that acts as both constraint and bodily extension. The piece foregrounds shifted weight, altered lines of tension and extremely slow gestural transformations against a persistent rotational rhythm. Rudy Decelière’s sound design suspends time, and a video triptych created with WIPART extends the work’s sculptural presence across contexts.
Presented in partnership with the Institut National Genevois, this closing concert brings together prizewinners of the Geneva Competition: violist Brian Isaacs and the Quatuor Elmire. The programme centres on Beethoven’s Quintet alongside two contrasting works, offering intimate chamber music textures. The performers favour clarity of line and heated interplay, shaping a narrative of tenderness and tension. Lighting and staging are understated, focusing attention on timbral richness and communicative ensemble playing to create a luminous, emotionally precise evening.
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.
Cinq patient·es. Cinq raisons d’être là. On ne sait pas encore lesquelles. En thérapie, c’est une séance, cinq personnes et tout ce qui peut arriver quand on commence vraiment à parler. Avec Adrien Laplana, Dardan Shabani, Lionel Perrinjaquet, Lygia Pavitt et Marine Delacrétaz.
Set between domestication and escape, La zone nono follows a troupe of ragged yet endearing animals seeking community and freedom. Two table puppeteers and two musicians bring to life quirky creatures through live music and songs, blending humour and poetry. The staging balances intimacy and playful invention, exploring solidarity, resilience and the pull of the wild. The show is performed in French and mixes witty storytelling with musicality and inventive puppetry.
In French.
Choreographed and performed by Olga de Soto, Paper Lane is a durational solo that stages resistance to digital acceleration and the saturation of high‑tech noise. Drawing on Hartmut Rosa’s reflections on alienation and acceleration and on visual artist Sophie Whettnall’s practices, the piece unfolds as a single, dilated gesture: continuously tearing a long surface. The slow, relentless action sculpts space and time, becoming ritual, endurance and meditation, inviting concentrated attention through pared‑down physicality.
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