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.
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.
Three improvisers and composers — Maël Godinat (piano), William Jacquemet (trombone) and Pierre‑François Massy (double bass) — present a program of original material and carefully chosen covers. Arrangements emphasize close harmonies, intimate interplay and attentive listening, letting sparse textures open into rich, resonant chords. The trio’s sound balances lyrical phrasing with rhythmic subtlety; lighting and silence shape moments of suspended time, inviting a contemplative, warm atmosphere that reimagines harmonic conversation in the moment.
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.
Presented by Electron Festival, Detroit Legends gathers pioneers Cybotron and Dopplereffekt for a dialogue between two foundational visions of techno. Their early experiments fused futurism, electronic machinery and African-American musical culture, shaping a sound that still echoes across generations. The evening opens with Geneva’s Orphia, whose analog textures, metronomic rhythms and luminous atmospheres form a bridge between origins and contemporary electronic practice. Three live sets, multiple generations, a concentrated portrait of the lineage and emotional force of Detroit electronic music.
With cellist Lisa Cailleton and Jérôme Gruffel (viola), Jean‑Baptiste Navarro (violin) and Nathalie Saudan (violin), the Contrepoint Quartet traces a repertoire from Purcell to Philip Glass and interweaves Scandinavian folk motifs. The programme examines the persistent force of repeating musical cells, contrasting baroque clarity with minimalist pulse and folk lyricism. Subtle dynamics and crystalline ensemble tuning reveal textures that shift from introspective to propulsive, inviting close listening and emotional clarity. It is presented within the Les Quatre Saisons de La Musicale season.
Conductor Eva Ollikainen leads a programme juxtaposing contemporary and romantic Finnish voices with international mastery. Soprano Anu Komsi and cellist Lionel Cottet join the orchestra for Kaija Saariaho’s Mirage, Jean Sibelius’s Fantasia The Daughter of Pohjola and the symphonic poem Luonnottar, and Tchaikovsky’s deeply expressive Sixth Symphony, the ‘Pathétique’. The evening unfolds through rich orchestral colours, luminous vocal writing and a sweeping narrative arc.
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