Born from the collaboration of Rodriguez Vangama, Fabrizio Cassol and Alain Platel, Coup Fatal blends opera, concert and dance into a jubilant hybrid performance. Thirteen musicians—mostly from the Democratic Republic of Congo—weave together baroque airs, rumba, lyrical voices and traditional songs, drawing on influences from Nina Simone to Vivaldi. The staging celebrates cultural and vocal encounters through visceral music-making and collective energy.
In French.
Directed by Marie-José Malis, Retour au pays revisits Hugo von Hofmannsthal’s letters through a spare, lucid staging. Performers Alexandra Tiedemann and Juan Crespillo inhabit the returning merchant’s disorientation, while Aurélia Ansermet provides live music and sound. Bernard Héritier’s scenography and Jessy Ducatillon’s lighting shape moments of visual surprise, most poignantly a Van Gogh encounter that restores belief in the world. The piece refuses facile answers, offering theatrical lucidity and an austere emotional clarity.
In French.
Invited by the OSR, Krzysztof Urbański conducts the Berner Symphonieorchester with Swiss pianist Francesco Piemontesi in a programme devoted to Johannes Brahms. The evening contrasts the Piano Concerto No. 1—born in mourning, marked by solemn intensity—with the radiant serenity of Symphony No. 2. The interpretation privileges orchestral warmth, layered textures and clear dynamic shaping, transporting listeners into an intimate, emotionally charged sound world where lyricism and dramatic surges alternate with measured poise.
La P’tite Fumée returns with an explosive live set that fuses psytrance energy and cyberpunk atmospheres. Their electro-acoustic palette blends didgeridoo with hypnotic guitar and flute lines over driving rhythms. New vocal elements join the band’s signature instrumental textures, adding sharp flows and communal hooks. The reworked live show emphasizes visceral dynamics, dense sound layers and raw intensity, offering a powerful, immersive concert experience that bridges tradition and modern electronic experimentation.
Created and performed by Elina Kulikova and Dima Efremov, TRILOGIE DE LA GUERRE interweaves three musical-performance pieces responding to exile, the war in Ukraine and repression in Russia. Kulikova’s chapters evoke classical and folk song, transforming lament into a ritualised, sensory mourning; Efremov’s contribution uses sound art and electro textures to shift perspective and map clandestine networks of resistance. Together the trilogy forms a compact dramaturgy of intimacy, unease and fragile hope, immersive and politically charged.
Created by Manon Bril and Etienne Lautrette and directed by Théo Comby Lemaitre, this hybrid lecture-performance blends scholarly rigour with theatrical wit. Historian Manon Bril guides the audience through surprising episodes of human history, overturning assumptions with a sharp, offbeat humour and playful staging. The show mixes clear popular-science explanation, theatrical images and comic timing to reveal that nothing has “always been like this”.
In French.
String quartet Quatuor Aviv presents an intimate programme featuring Anna Göckel and Brandon Garbot on violins, Noémie Bialobroda on viola and Daniel Mitnitsky on cello. The programme juxtaposes Haydn’s lively Quartet in C major, Op. 54 No. 2 with Alban Berg’s intense, expressionist String Quartet Op. 3 and Mendelssohn’s radiant Quartet in D major, Op. 44 No. 1. Refined ensemble playing, precise articulation and warm sonorities invite close listening and emotional contrast.
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