Led by Barnabas Kelemen and featuring Jonian Ilias Kadesha (violins), Katalin Kokas (viola) and Vashti Hunter (cello), the Kelemen Quartet presents a programme that moves from Baroque clarity to modern intensity. The programme juxtaposes Henry Purcell’s intimate fantasias with Beethoven’s expansive Razumovsky quartet and the bold idiom of Béla Bartók (String Quartets No. 3 and No. 5), creating a journey of counterpoint, colour and searing ensemble dialogue.
Created collectively by the company À l’Ouest with Guillaume Pidancet, this inventive staging reimagines Charles Perrault’s Bluebeard for families. Performed in a mobile truck‑theatre that becomes a ‘suitcase of dreams,’ the production blends playful storytelling, poetic imagery and close‑up interaction to transform a dark tale into a gentle exploration of curiosity and trust. The intimate ensemble features Pierre Boulben, Hugo Braillard and Loubna Raigneau.
In French.
Brigade financière stages a tense, chamber drama by Hugues Leforestier that confronts the logic of contemporary finance. Under Antony Mettler’s direction, Christian Gregori and Maria Mettral embody a sharp, cerebral duel between a financial crimes commissioner and an accused executive. Christian Gregori also signs scenography and costumes while Florian Cuellar sculpts the lighting. The production blends police-procedural suspense with satirical intelligence, probing power, privilege and the contradictions of today’s economic system.
In French.
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.
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.
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.
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.
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