{"id":5856,"date":"2025-11-12T12:06:46","date_gmt":"2025-11-12T11:06:46","guid":{"rendered":"https:\/\/ensemblepygmalion.com\/temps-fort\/2014-2\/"},"modified":"2026-01-14T15:45:41","modified_gmt":"2026-01-14T14:45:41","slug":"2014-2","status":"publish","type":"temps-fort","link":"https:\/\/ensemblepygmalion.com\/en\/temps-fort\/2014-2\/","title":{"rendered":"2014"},"content":{"rendered":"\n
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Patrick Berger<\/figcaption><\/figure>\n\n\n\n

T<\/span>rauernacht<\/span> <\/span>:<\/span> l<\/span>a m<\/span>\u00e9tamorphose<\/span> d<\/span>e c<\/span>antates<\/span> d<\/span>e B<\/span>ach<\/span> a<\/span>u f<\/span>estival<\/span> d<\/span>‘Aix-en-Provence<\/span> <\/span> <\/span> <\/span><\/h2>\n\n\n\n

For his debut at the Aix-en-Provence Festival, Rapha\u00ebl Pichon joined forces with British director Katie Mitchell. They chose the universal theme of mourning, explored through excerpts from cantatas by J. S. Bach (BWV 8, 60, 90, 147, 146). Although Bach never composed an opera, Mitchell\u2019s staging highlighted the theatricality of his music in perpetual dialogue with death.<\/p>\n\n\n\n

This \u2018night of mourning\u2019 is a minimalist, intimate work of meticulous realism, reflecting the range of emotions at work in Bach\u2019s music. It is a journey of initiation for man facing his own mortality. First performed with young musicians from the European Music Academy, the work was taken on tour by Pygmalion to Amsterdam, Valencia, Caen, Arras, Paris, and Lisbon.<\/p>\n\n\n\n

Building on this first collaboration, Pichon and Mitchell created Miranda<\/em> in 2017, a semi-opera drawing on the music from Henry Purcell\u2019s opera The Tempest<\/em>, presenting Shakespeare\u2019s characters in a resolutely dynamic and contemporary style. Miranda<\/em> marked the beginning of a partnership with the Op\u00e9ra-Comique. Since then, Pygmalion has presented a new production there every season.<\/p>\n\n\n\n

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Patrick Berger<\/figcaption><\/figure>\n\n\n\n

T<\/span>rauernacht:<\/span> t<\/span>he<\/span> t<\/span>ransfiguration<\/span> o<\/span>f B<\/span>ach\u2019s<\/span> c<\/span>antatas<\/span> a<\/span>t t<\/span>he<\/span> A<\/span>ix-en-Provence<\/span> F<\/span>estival<\/span><\/h2>\n\n\n\n


\u2018Katie Mitchell transforms Bach\u2019s cantatas into hybrid works, somewhere between opera, theatre, and concert. \u2018Katie Mitchell, like many artists, is obsessed with death, and it is true that there is something dark, bitter, and harsh about Bach, even if tinged with comfort. Trauernacht <\/em>is an exciting adventure,\u2019 explains conductor Rapha\u00ebl Pichon.\u2019 (Lib\u00e9ration<\/em>, Guillaume Tion, 2014)<\/p>\n\n\n\n

\u2018What one admires most is the selection of the musical excerpts and their sequencing: from rebellion to tranquility, they survey the entire range of feelings covered by Bach\u2019s oeuvre, creating contrasts and a progression of such coherence that we forget it is a potpourri. It feels like we are watching a great cantata or a mini-opera.\u2019 (Le Figaro<\/em>, Christian Merlin, 2014)<\/p>\n<\/div>\n<\/div>\n\n\n\n

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