Nicolas Folmer leads So Miles, a modern jazz and bebop project drawn from the musical world and aesthetic of Miles Davis. Folmer’s trumpet engages in close dialogue with special guest Rick Margitza, supported by Emil Spanyi on piano, Olivier Louvel on guitar, Philippe Bussonnet on bass and Stéphane Huchard on drums. The programme balances lyrical introspection and fiery improvisation, foregrounding tone, space and groove in intimate ensemble interplay.
Told as a solo performance, this piece follows a woman as she remembers the films that shaped her life and blurs the line between cinema and memory. Through references to science-fiction sagas and cinematic archetypes — the woman-soldier, the survivor, the reluctant mother — the show probes identity, fear of change and the ways stories migrate from screen to skin. Sparse staging and intimate narration create a haunting, introspective atmosphere.
In French.
Tiwayo returns with Outsider, an intimate yet expansive soul album produced by Adrián Quesada. Fronting his full band, the Parisian singer-songwriter—nicknamed “The Young Old” for his timeless voice—moves between southern soul, blues and travel-worn melodies. Collaborations with Doyle Bramhall II and Kendra Morris add depth to arrangements that favour raw, authentic expression. On stage, the band blends warm grooves, gritty guitar and emotive vocals to create a direct, soul-centred experience.
Scène Vagabonde’s seventh edition brings a compact program of contemporary theatre and music, presenting three contrasting stage works — “Par le bout du nez”, “Quadrille” and “Prima facie” — alongside a concert by Orchestre Tout Puissant Marcel Duchamp as part of La Bâtie-Festival de Genève. Across intimate stagings the festival favors inventive direction, close ensemble interplay and a balance of wit and intensity, offering encounters that privilege physical presence, tonal variety and rigorous dramaturgy.
Je ne suis pas Johnny is a theatrical exploration of identity, memory and the weight of cultural myth. Combining intimate staging, physical sensitivity and moments of dark humour, the piece unsettles familiar narratives and invites audiences to reconsider how personas are constructed and performed. Sparse lighting and a fluid rhythm shape an intense, close-up experience, where silence and gesture reveal hidden tensions and unexpected tenderness.
Magico celebrates thirty years of performance in an anniversary show that blends illusion, mentalism and humour. Through an interactive best-of, the audience chooses the acts retracing his artistic journey, from mind‑reading and card routines to large-scale illusions and improvised sketches. The staging favors close contact, playful interaction and sudden moments of astonishment, combining precise sleight-of-hand with warm comic timing to create an intimate, wonder-filled 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.
Please adjust your criteria to see more results.
Your password has been reset successfully. You can now log in with your new password.
We’ve sent you a password reset email to the address provided. Please check your inbox and/or spam folder.
Please check your inbox for a verification email to complete your sign-up.
Culture, curated weekly.
Event removed from your CoolAgenda.
