With a flawless discography, Jazzy Bazz has established himself as an uncompromising craftsman of French rap. Raised in Paris’s 19th arrondissement, he honed his voice with La Cool Connexion and the cult collective L’Entourage. His meticulous lyricism and patient, sincere approach elevate each track. The latest album, Nirvana, reflects on time and inspiration, marking an artistic evolution that favors depth over mass production.
In French.
Kohan and Jordan present a musical suite that blurs composition and improvisation. Claude Jordan (flutes) and Eduardo Kohan (tenor saxophone, bass clarinet, piano) weave arrangements of original pieces, altered songs and reimagined classical repertoire into a porous, bricolage-like soundscape. Sparse textures give way to sudden cascades, intimate dialogues and playful timbres, inviting attentive listening and surprise. The duo’s interplay foregrounds timbral contrast and conversational phrasing, producing an atmosphere at once contemplative, whimsical and vividly physical.
Directed by Alexander Zeldin, The Other Place is a contemporary reading of Antigone that carves a tragic family drama out of everyday life. On the anniversary of their father’s death, two estranged sisters confront memories, renovation works and an uncle determined to move on. With Jerry Killick among the cast and a strikingly realistic scenography, the production exposes hidden violences, irreconcilable trajectories and raw emotional fractures in a finely observed, tense staging.
In English.
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.
Directed by Françoise Courvoisier, this production of Anton Chekhov’s Oncle Vania — translated by Arthur Adamov — assembles a committed ensemble (Vincent Bonillo, Pierre Dubey, Bérangère Mastrangelo, Patricia Mollet-Mercier, Clarisse Morizot, Pierre Omer, Juliana Samarine, Edmond Vuilloud) to explore love, the passage of time and illusions lost. The staging, created with scenographer Gilbert Maire and painter André Kasper, uses Rinaldo Del Boca’s lighting, Pierre Omer’s music and Nicolas Le Roy’s sound to evoke both the comedy and the terrifying humanity of Chekhov.
In French.
Rorcal marks its twentieth anniversary with a visceral vernissage celebrating the release of its seventh album, Mahre. Pioneers of Geneva’s underground sound, the band bends and distorts the vocabularies of doom, black metal, industrial and drone into a ritualised, oppressive performance. The performance features dense textures, abrasive dynamics and stark sonic architecture that privilege atmosphere and intensity over conventional melody, delivering an immersive, dark and devastating experience.
An itinerant concert that guides audiences through curated spaces to encounter the music of women composers alongside paintings by female artists. Combining live chamber performance, spoken context and intimate encounters, the walk alternates contemplative pieces with moments of discovery, highlighting diverse compositional voices and visual narratives. A small ensemble and guest musicians frame each stop with attentive playing, inviting listeners to link sound and image in a reflective, immersive atmosphere.
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