Aspasie presents an intoxicating masked ball that blends mystery, elegance and unbridled celebration. Guests adopt alter egos behind ornate masks, moving through shifting lights and music that range from intimate to exuberant. The atmosphere balances spectacle and conviviality: expect surprises, fluid choreography and moments of communal dance. The evening invites boldness and playful reinvention, offering a sensory night where the costume becomes part of the performance.
Fiona G. brings a razor-sharp solo hour of dark, observational stand-up that mixes Swiss deadpan with Parisian stage instincts. Fluent in several languages and armed with a precise sarcasm, she navigates subjects from everyday rituals to taboo topics with a playful cruelty and agile improvisation. The piece is a work-in-progress that plays with ego, irony and timing, offering unpredictable moments that pivot between biting malice and sudden tenderness.
In French.
Three internationally acclaimed artists unite for a rare program devoted to the music of Brazilian composer Egberto Gismonti: Mario Forte (violin), Dimitar Ivanov (ten‑string guitar) and Mihail Ivanov (double bass). The programme navigates Gismonti’s blend of Brazilian folklore, classical counterpoint and jazz improvisation, emphasising intricate textures, daring harmonies and virtuosic technique. Dimitar’s ten‑string approach, rooted in piano‑like textures, dialogues with Forte’s lyrical violin and Mihail’s resonant bass, shifting between scored structures and spontaneous interplay. Gismonti himself praised the project’s intimacy and mastery.
Are Demons Among Us? Berbiguier de Terre-Neuve du Thym was a French citizen from Avignon who, after having his cards read by a fortune-teller, began to see malevolent beings all around him, whom he called “goblins.” The delusion lasted his entire life. His book on demons is an impressively detailed work, written in a rich literary style and containing utterly bizarre content—both pathetic and unintentionally comical.
It constitutes the most complete account of the inner world of a man gripped by profound madness. It was rediscovered in the following century by the Surrealists, notably Raymond Queneau, as well as by enthusiasts of outsider art. The performance will be a montage of the very words of this famous “literary madman” and will offer the audience a journey into the labyrinth of his thoughts.
In French.
Under the baton of John Axelrod, the Orchestra Filarmonica di Puglia teams with MUSIKAIROS for a program pairing Carl Orff’s Carmina Burana with Francis Poulenc’s Concerto for Two Pianos. Soloists John Osborn (tenor), Bogdan Baciu (baritone) and Varduhi Khachatryan (soprano) drive the cantata’s elemental choral eruptions, while pianists Lucas Chiche and David Chen trade witty, lyrical passages in Poulenc’s score. The evening balances raw rhythmic energy and intimate lyricism, with vivid orchestral colours shaping a dramatic, theatrical soundscape.
Directed by Claude Vuillemin, Yasmina Reza’s Trois versions de la vie assembles four performers, Laurent Deshusses, Marie Druc, Sophie Lukasik and Nicolas Rossier, in a taut, virtuosic staging. Lighting by Rinaldo Del Boca and costumes by Sylvie Lépine shape shifting domestic realities as the play probes how social veneer fractures intimate relationships. This production by Les Amis – Le Chariot demands precision and emotional nuance from its cast.
In French.
Directed by François Marin, this intimate staging examines the fraught passion between Martin Heidegger and Hannah Arendt against the moral upheavals of Nazi Germany. Mario Diament’s text, adapted by André Nerman, traces a forbidden love between a philosopher and his student, probing complicity, memory and the struggle to reconcile heart and conscience. Sabrina Martin and Frank Semelet inhabit the roles with spare, intense performances, supported by a precise, austere mise en scène that foregrounds emotional conflict and ethical ambiguity.
In French.
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