Carlotta Bulgarelli, harpist, offers an intimate midday recital featuring baroque sonatas and lyrical transcriptions. Her refined technique and warm tone bring out the contrapuntal clarity of D. Scarlatti and the expressive elegance of C. Ph. E. Bach, while colourful arrangements by Albéniz and the contemporary voice of J. Parry add timbral variety. The programme invites listeners into a relaxed, focused listening experience that highlights the harp’s poetic and virtuosic possibilities.
David McVicar’s staging of Mozart’s The Magic Flute frames a fantastical quest of love and initiation. The production features Julia Bullock (Pamina), Amitai Pati (Tamino), Huw Montague Rendall (Papageno), Kathryn Lewek (Queen of the Night) and Soloman Howard (Sarastro), led by conductor Marie Jacquot in her anticipated Covent Garden debut. McVicar balances fairy-tale spectacle and intimate emotion, conjuring luminous ensembles and eerie choruses, where the enchanted flute guides encounters with danger, wonder and sudden tenderness.
In French.
Directed by Françoise Courvoisier, this theatrical adaptation stages two periods of Grisélidis Réal’s life simultaneously, split between a dignified elder confronting illness and a vibrant earlier self. Martine Schambacher and Françoise Courvoisier embody these contrapuntal figures; assistant director Léa Déchamboux supports the staging. Natacha Jaquerod’s set, Rinaldo Del Boca’s lighting and Nicolas Le Roy’s sound design sculpt intimate, lyrical atmospheres. Drawing on Grisélidis’s letters, the piece blends lyricism and fury into a raw, elegiac portrait of life and writing.
In French.
Chekhov’s Ivanov follows Nikolai Ivanov, a middling Russian landowner crushed by debt and by the slow decline of his wife, Anna Petrovna, who is dying of tuberculosis. Across four acts, his inertia curdles into melancholy and self-destruction, swinging between biting comedy and harrowing despair. Written in a ten-day burst in 1887, when Chekhov was only twenty-seven, the play crackles with youthful urgency as tragedy and humor intertwine.
Director–actor Jean-François Sivadier infuses this new staging with his distinctive theatrical energy, pairing veteran performers with fresh faces to reignite the play’s original heat. Echoing Gustav Mahler’s dictum that “tradition is not the worship of ashes, but the preservation of fire,” the production seeks to keep Chekhov’s raw, combustible spirit blazing on today’s stage.
In French. Ages 16 and up.
Baptiste Cazaux presents a fragmented physical dance work that upends the senses. As choreographer and performer, Cazaux sculpts an explosive, hyperkinetic body that collides gestures, styles and sonic fragments like a DJ scratching samples. That’s Twisted mixes pop hymn nostalgia from the 2010s with a psychedelic collage of movement and sound, destabilising time, affect and perception. The piece traces contemporary melancholy and seeks transcendence through layered rhythms, distorted textures and sudden shifts in intensity. Création 2026, coproduction.
ClassiCosy presents the renowned Quatuor Strada in a complete cycle of Beethoven’s 16 string quartets, spread across seven concerts at Théâtre des Salons. This musical marathon celebrates the composer’s masterpieces, from early quartets influenced by Mozart and Haydn to the mature and transcendent works of his later opus. The performances offer a profound exploration of the human soul and a distinctive spiritual experience for music lovers in Geneva.
Pères is a poetic ensemble piece directed by Lefki Papachrysostomou that interrogates fatherhood today. Texts by Julie Annen, Nicolas Tavaglione and Miguel Fernandez‑V are embodied by four actors — Dimitri Anzules, Angelo Dell’Aquila, Serge Martin and Jef Saintmartin — and framed by an all‑female creative team. Lighting by Claire Firmann, sound by Frédérique Jarabo and costumes by Lys Tell shape intimate scenes that alternate tenderness, duty and strain. The work explores filiation, grief and gratitude with rigorous stagecraft and quiet intensity.
In French.
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