William Kentridge / Photo Johan Jacobs de W. A. Mozart ... · mise en scène de Krzysztof Warlikowski, décors et costumes de Małgorzata Szczęśniak, Opéra Bastille, Paris, 2007,

Sum

i Jo

(la

Rei

ne d

e la

Nui

t) d

ans

La F

lûte

enc

hant

ée d

e W

. A. M

ozar

t mis

e en

scè

ne p

ar W

illia

m K

entr

idge

, La

Mon

naie

, Bru

xell

es, a

vril

2005

. © W

illia

m K

entr

idge

/ P

hoto

Joh

an J

acob

s

OPERA AS THE WORLDTHE QUEST FOR A TOTAL WORK OF ART

3

1. INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

2. EXHIBITION ITINERARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

3. CATALOGUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

4. FIVE QUESTIONS TO THE EXHIBITION CURATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

5. LIST OF CREATORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

6. LIST OF OPERAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

7. BEYOND THE WALLS WORKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

8. RELATED EVENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

9. PARTNER EVENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

10. EXHIBITION PARTNERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

11. IMAGES AVAILABLE TO THE PRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

CONTENTS

Moses und Aron (Moïse et Aaron) Opéra Bastille, Paris, 2015. Photo Bernd Uhlig Courtesy du photographe et de l’Opéra national de Paris. © Romeo Castellucci / Photo Bernd Uhlig


5

From June 22, 2019 to January 27, 2020 GALERIE 3

1. INTRODUCTION

“It’s not a question of re-composing an opera, with its [inherent] hierarchies, but rather of making an instrument for the production of freedom.”1

Opera as the World witnesses the encounter between the visual arts and opera in the 20th and 21st centuries. Beyond the straightforward presentation of opera sets created by artists, the exhibition aims to shed new light on the resonance, and tensions, between opera and the Wagnerian legacy of the Gesamtkunstwerk2 (“total artform”), exploring how the visual arts and lyric theatre have enriched one another and, at times, become sources of mutual, radical influence and inspiration. In this two-way relationship, opera is a fertile ground for experiment and the fomenting of new aesthetic and political sensibilities.

In the context of the contemporary art scene, an exhibition devoted to opera is meaningful in more ways than one. We have moved beyond the myth of “the last opera”. In 1967, Pierre Boulez’s call to “blow opera houses up” resounded like an irrevocable verdict and death sentence, yet we know now that throughout the second half of the 20th century, opera produced a remarkable, important body of new work. The genre’s much criticized “spectacularization” had widespread impact on other artistic spheres. Opera-as-spectacle prompts further exploration of this theatrical sensibility and its innervating influence on contemporary art, after years of more conceptual forms.

Through set designs and costumes, scenographic elements, large-scale installations and new works, Opera as the World combines sound and vision to showcase opera’s role as both a workshop for shared artistic aims and aspirations, and the embodiment of creative freedom. The exhibition charts alternative territory in our exploration of interdisciplinarity in art, from the experimental sets of early avant-garde productions such


as Arnold Schoenberg’s Die glückliche Hand (“The Hand of Fate”, 1910-13), to scores that have become latter-day repertory classics, such as Olivier Messiaen’s Saint François d’Assise, and more experimental, uber-iconic works such as Philip Glass and Bob Wilson’s Einstein on the Beach (1976).

Focussing on selected works representing the fertile links between visual artists and the stage, the exhibition is organised into thematic sections, from “painting in motion” to political, sometimes utopian productions, radical forms and new settings for opera, and the magic, sound and fury of the great myths. Classics such as The Magic Flute and Norma are also featured, highlighting how bold, innovative approaches can transform the established repertoire into a space for transgression and transformation, while ensuring a sense of continuity.

The exhibition also addresses its own ability, if not to recreate, then at least to evoke the sensory power and enchantment of opera. A number of past productions are “revived” alongside specially-commissioned work from contemporary artists, demonstrating the passion the medium of opera continues to inspire, and offering visitors an immersive encounter with its unique magic.

Extending the reflection on the chosen affinities between the show and visual arts - supported by previous projects among which Musicircus or Oskar Schlemmer. The Dancing Artist, Opera as the World exhibition questions the theatricality that innervates the disciplines of modern and contemporary art, with a resonance all the stronger that the exhibition is part of the Opéra national de Paris 350th anniversary, platform of innovative artistic intentions - those of Bill Viola, Romeo Castellucci or Clément Cogitore, to name but a few.

1 Pascal Dusapin, about de To Be Sung, Arles-Caen, Actes Sud - Théâtre de Caen, 1994, p.20.

2 Total work of art concept.


6

2. EXHIBITION ITINERARY

Polish designer Małgorzata Szczęśniak (b. 1954) is a scenographer, costume specialist, and long-time collaborator with opera director Krzysztof Warlikowski. Her work flies in the face of conformity and theatrical tradition. Characterised by its architectonic approach and the spectral evocation of its own raw materials, her work wavers between twinkling sobriety and a kind of contemporary Baroque that tests the expressive power of the stage through an exploration of the symbolism of place, and the transformation of reality. Drawing on diverse sources of inspiration, from the visual arts to cinema, Szczęśniak eschews any attempt at “illustration”, enshrining the scenography as a pivotal dramatic element.

At the curator’s invitation, Małgorzata Szczęśniak has designed the exhibition’s scenography in close collaboration with the artistic team at the Centre Pompidou-Metz. The result is a labyrinth that unfolds

FLOORPLAN: GALERIE 3

SCENOGRAPHYfrom one end of the gallery to the other – a metaphorical realisation of the medium’s sensory and dramaturgical journey, conceived as an opera in its own right, organised into acts, scenes and “sensations”.

As a quest that offers answers and invites new discoveries in equal measure, the visitor itinerary is carefully orchestrated to incorporate the element of surprise, quiet interludes and expansive, contemplative spaces. Symbolically, the labyrinthine form evokes and resonates with the narratives of mythological characters such as Ariane or Orpheus – foundational, tutelary figures in the history of opera, gripped by boundless passions and yearning.

The exhibition’s architecture deliberately evokes a homogenous, globalising approach in order to celebrate the rich, protean mix of nations, stories and dreams that establishes opera as a mirror of the wider world.

ENTRANCEEXIT

1

“My picture is my stage”

2Die Zauberflöte

– The Magic Flute

95

“Here, time becomes space.’’

8 Saint François

d’Assise

9“I want to build

an opera” 3Myths and legends:

tales of sound and fury

4The quest for a work

of “total art”

10Operatic bodies

46Einstein on the Beach

7The biblical path and

spiritual synthesis


7

OVERTURE: THE MAKROPULOS AFFAIR, 2007

Opera as the World opens in spectacular fashion, with a gigantic figure of King Kong filling the Forum at Centre Pompidou-Metz. Designed by Małgorzata Szczęśniak for Krzysztof Warlikowski’s staging of Leoš Janáček’s opera The Makropulos Affair, the piece is the largest item ever made in the workshops at the Opéra national de Paris.

The monumental figure takes the visitor to the “no-limits” world of opera, and its continuing dialogue with the world of cinema.

L’Affaire Makropoulos mise en scène de Krzysztof Warlikowski, décors et costumes de Małgorzata Szczęśniak, Opéra Bastille, Paris, 2007, avec Angela Denoke (Emilia Marty). Photo Pascal Victor © Pascal Victor / ArtComPress. Courtesy Opéra national de Paris


8

The words of English painter William Hogarth, backed by his serial compositions of tableaux that read as staged, theatrical scenes, find particular resonance in Igor Stravinsky’s 1951 opera The Rake’s Progress, based on Hogarth’s celebrated paintings and engravings, and the inspiration for an inexhaustible series of innovative set designs ever since. Throughout the 20th century, numerous artists, many of them new to the theatre, created intense evocations of Hogarth’s ambitious narrative in new sets for the great opera houses of the world, forging close, innovative partnerships with leading directors.

The exhibition’s opening act addresses these important partnerships, transforming the stage into a living tableau, by turns engaging with the historical tradition of painted decor and backdrops, or breaking with it completely.

Far from simply transposing paintings from the easel to the vastly magnified scale of the stage (in the words of Natalia Gontcharova), the featured artists reinvented themselves as experimental scenographers – an experience that nourished their own artistic practice in turn. In 1979, at Bologna’s Teatro Comunale, French artist Roland Topor created colourful sets and costumes for Hungarian composer György Ligeti’s opera Le Grand Macabre. Topor’s vast, panoramic settings draw directly on Ligeti’s own source of inspiration: the world of Hieronymous Bosch. Topor identified a need to “make the visual aspect as moving as the sound-world of opera, to create animated theatre, just as we make animated films.”3

For some artists, while never working for the stage, their encounter with opera proved overwhelming, prompting a reconsideration of their prior career as an opera in its own right. Aloïse Corbaz was one such, forced to abandon her dream of becoming a singer when she was interned in a psychiatric hospital. Corbaz’s subsequent work was suffused with the world of opera, taking inspiration from Tosca, La Traviata and Orpheus and Eurydice.

Opening opera to new and broader horizons, the not-for-profit association museum in progress (founded in 1998) invites artists including David Hockney, Cy Twombly and Kara Walker to re-think the historic tradition of the proscenium curtain and create new works for the stage of the Wiener Staatsoper, to be discovered by the audience while the orchestra tunes up in the pit. A new work is commissioned each season, transforming the curtain into an ephemeral exhibition space that interacts with the space of the theatre, taking art beyond the boundaries of traditional museum settings. Exceptionally, Helen & Gordon, created by Dominique Gonzalez-Foerster for the Staatsoper in 2015, will be displayed throughout summer 2019 at the Metz Metropole Opera-Theatre, as part of the Constellations Festival 4, extending the exhibition to one of France’s oldest active theatres.

3 Roland Topor, « Préface », Le Grand Macabre, Dessins des décors et costumes de l’opéra de György Ligeti, Paris, Hubschmid & Bouret / L’Avant-Scène, 1981, p.10

4 Cf related event p.23

1. “MY PICTURE IS MY STAGE”

Roland Topor, Le Grand Macabre acte I, scène 1, et acte II, scène 2, Paysage de Breughelland, 1978 Encre et pastel sur papier, 24 x 32 cm Bologne, Fondazione Teatro Comunale di Bologna © ADAGP, Paris


9

The Rake’s Progress, David Hockney

John Cox’s 1975 Glyndebourne production of Igor Stravinsky’s The Rake’s Progress, based on the paintings and prints of William Hogarth, with sets and costumes by David Hockney, is often cited as a model of artistic involvement in the world of opera. The production played an active role in the visual arts rise to power on stage, as well as exerting a lasting impact on Hockney’s own style.

This iconic production has subsequently entered the repertory of numerous opera houses and, in 2006, even dethroned Ingmar Bergman’s staging of the piece, which had featured in the repertory of the Royal Swedish Opera since 1961.

For the Maggio Musicale Fiorentino, in 1982, Derek Jarman countered Hockney’s approach and found new ways to transgress the established codes of opera by transposing the narrative to early 1980s London, drawing on the iconography of English punk and magazines of the period.

The Golden Cockerel, Natalia Gontcharova

Convinced that “enlarging an easel painting to the scale of the stage will never make it a theatrical décor,”5 and furthermore that “creativity in stage design permits anachronisms, distortions, reconstitutions and inventions of every kind,”6 Natalia Gontcharova reinvented the world of the opera-ballet Le Coq d’Or on stage at the Palais Garnier in 1914, at the invitation of the head of the Ballets Russes, Sergei Diaghilev. For her first collaboration with the Paris opera house, Gontcharova’s decors and costumes witnessed the complex synthesis she strove to achieve, between the traditional art of her native Russia, and the work of the modern artists she encountered in France.

5 Natalia Gontcharova et Michel Larionov, « Serge de Diaghilev et l’évolution du décor et du costume de ballet », in Natalia Gontcharova, Michel Larionov et Pierre Vorms, Les Ballets russes. Serge de Diaghilew et la décoration théâtrale, Belvès, Pierre Vorms éditeur, 1955, p.27

6 Ibid, p.39

Natalia Gontcharova, Le Coq d’or, décor de l’acte III, 1914 Impression photomécanique, 15 x 21 cm / Paris, Bibliothèque nationale de France, bibliothèque-musée de l’Opéra / ESTAMPES SCENES Coq d’or (1) © Bibliothèque nationale de France, Paris / © Adagp, Paris 2019


10

Premiered two months before Mozart’s death, at Vienna’s Theater auf der Wieden, Die Zauberflöte (the composer’s final opera) combines the powers of magic and mythology. From its very first performance on September 30th, 1791, the enchanting sets and costumes created for the piece have contributed to its unstinting success and popularity as a repertoire classic and a continually revived showcase for directorial innovation and creativity.

Ewald Dülberg’s 1929 production favoured a radically minimalist set, devoid of any explicit decorative intent. By contrast, in 2005, William Kentridge created an imaginary Oriental world inspired by the masonic symbols contained in the opera’s libretto and situated firmly in the colonial era, inviting a more political re-interpretation of the work. Alfred Roller’s un-staged production of 1926 drew on new lighting techniques to characterise the shifting moods of the libretto with distinct, differently lit ambiences – an approach implemented by Oskar Kokoschka for the Salzburg Festival in 1955.

This section of the exhibition culminates with one of the masterpieces of opera on film: Ingmar Bergman’s production of The Magic Flute – part cinema, part theatre, in the spirit of the great director’s protean œuvre.

2. DIE ZAUBERFLÖTE

Oskar Kokoschka

Kokoschka directed and designed the sets for several of his own plays in the early 1900s, and later designed sets and costumes for a production of The Magic Flute at the Salzburg Festival, in 1955. Responding the complex challenges of the famous Felsenreitschule stage – forty metres wide and with no concealed “wings” or “fly space” – Kokoschka used lighting effects for the scene changes. The Queen of the Night is bathed in violet and blue, while Sarastro’s lighting oscillates between yellow and red.

William Kentridge

For his production of The Magic Flute at Brussels La Monnaie / De Munt theatre in 2005 (for which he also designed the sets and costumes), William Kentridge created an authentically “total” work, combining every artistic medium. For Opera as the World, Kentridge returns to his concept of the stage as camera: evoking the venue for the production’s world première, he creates a miniature Italianate theatre in which the enclosed space of the stage becomes a surface for the twofold projection of his designs, to the accompaniment of the best-known arias and melodies from the opera.

Ewald Dulberg, Die Zauberflöte (La Flûte enchantée), maquette de décor pour le Temple du Soleil, acte II, scène 38, 1929 Bois, bronze doré, feutre, gouache et installation électrique, 52,5 × 67,5 × 7 cm Cologne, Theaterwissenschaftliche Sammlung–Universität zu Köln © Theaterwissenschaftliche Sammlung, Cologne

William Kentridge, Preparing the Flute, 2004-2005 Animation vidéo, structure en bois, panneaux peints, 240 x 150 x 118 cm, éd. 3/3 Rome, MAXXI – Museo nazionale delle arti del XXI secolo, inv.: 10491 Courtesy Fondazione MAXXI – Museo nazionale delle arti del XXI secolo / photo Patrizia Tocci © William Kentridge, courtesy Marian Goodman Gallery

Oskar Kokoschka, La Flûte enchantée Dessin préparatoire pour les murs du temple, partie centrale (lune et tête de Janus), 1954-1955 Crayon de couleur sur parchemin, 60 x 90 cm / Salzbourg, Museum der Moderne, inv. : BS 15435 © Museum der Moderne Salzburg, photographer: Rainer Iglar © Fondation Oskar Kokoschka / Adagp, Paris, 2019


11

Opera has been connected with mythology and the epic narratives of Antiquity from its earliest beginnings in the Renaissance, to the present day. In what is often cited as the medium’s foundation myth, Orpheus releases Eurydice from the underworld through the miraculous power of song. The great figures and tragic destinies of mythology – Isolde, Elektra, or the Amazon queen Penthesilea – are among its many iconic roles.

Bill Viola’s 2005 production of Wagner’s three-act opera Tristan and Isolde, at Paris’s Opéra Bastille, magnified the action with a monumental, dream-like video scenography reflecting the bodies of the protagonists, and the four elements.

Anselm Kiefer’s scenography and costumes for Klaus Michael Grüber’s 2003 production of Elektra at the Teatro di San Carlo in Naples, and his monumental

installation filling the Opéra Bastille stage for the premiere of Am Anfang, in 2009 (in celebration of the opera house’s twentieth anniversary), draw on the power of raw materials as leitmotivs for the creation of a world that explores the symbolism of catastrophe. In their 2002 production of Antonin Dvořák’s Rusalka, director Robert Carsen and scenographer Michael Levine create imagery based on an extravagant play of mirrors: human society stands in opposition to the world of the water-nymphs in a set that reveals the fairy-tale’s sparkling candour, and the psychoanalytical quality of its underlying torments.

Lastly, Berlinde De Bruyckere’s designs for Pascal Dusapin’s opera Penthesilea (2015) set the action in an abattoir, expressing the carnality and violence of the narrative, inspired by the German Romantic author Heinrich von Kleist.

3. MYTHS AND LEGENDS

Vergine Keaton

Fascinated by opera’s immersive ability to create its own sensory and emotional space-time, young anime director Vergine Keaton (b. 1981) is invited here to create a video triptych connecting ancient mythology to an exploration of Dante’s Divine Comedy. Her work offers a poetic reflection on this literal journey to the bowels of the earth, and the metaphorical attempt to illuminate its deepest mysteries. Keaton also addresses the decomposition and re-composition of images on film, as an extension of her researches into the legacy of the avant-garde experiments of the early 20th century. Forms, colours and sounds interact in an exploration of rhythm and counterpoint.

Tristan and Isolde, Bill Viola

Bill Viola (b. 1951) was invited by Gerard Mortier to create a “river of video” in dialogue with director Peter Sellars’s new production of Richard Wagner’s Tristan and Isolde. The result is an epoch-making work in the history of Wagnerian opera production (as were Viola’s earlier designs for the 2005 production of Tristan at the Opéra Bastille in Paris.)

With this work, Viola – who has long conducted a significant, experimental, filmic exploration of the expressive power of differing psychological states – embarks on a new chapter, focusing on the painterly qualities of living tableaux. Precision-timed to the duration of the opera (over four hours), the video follows its own narrative path while at the same time espousing the broad outlines and flow of Wagner’s music.

Vergine Keaton, « Vous qui entrez ici », 2019 Installation (polyptique), vidéo 4320 x 1920 pixels, couleur, stéréo, 7” en boucle et acier, bois, peinture, technologies matérielles et logicielles, 120 x 250 cm Création sonore : Guillaume Quéméré Lantonnet Solution technologique : Paul Lacroix Coproduction Centre Pompidou-Metz, Sacrebleu Production et Label Dalbin Avec le soutien de la Région Grand Est

Bill Viola, Isolde’s Ascension (The Shape of Light in the Space after Death) [L’Ascension d’Isolde (La forme de la lumière dans l’espace après la mort)], 2005 Vidéo HD sur écran plasma, couleur, sonore, 10’30’’Turin, Fondazione per l’Arte moderna e contemporanea CRT, en prêt au Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino Photographe: Kira Perov


12

In the wake of the Romantic movement, modern art tested the limits of Richard Wagner’s utopian concept of the Gesamtkunstwerk, formulated in 1849. While continuing to pursue the goal of communion between the arts, avant-garde artists rebelled against the supremacy of music, poetry and dance over the visual arts, and invented new forms and aesthetic approaches. The dialogue between diverse expressive forms gave rise to new projects for the theatre, challenging operatic tradition. While Vassily Kandinsky’s compositions for the stage distanced themselves from conventional narrative to focus on a series of tableaux conceived as moving images, Arnold Schoenberg worked simultaneously on the music, text and decor for Die glückliche Hand, from 1910 to 1913. Act III of the score envisages a crescendo of colours, orchestrating shifts in the stage lighting from one bar to the next.

In 1929, László Moholy-Nagy’s designs for Offenbach’s Tales of Hoffman at the Berlin Staatsoper, structured the space of the stage through the play of light and shadow.

4. THE QUEST FOR A WORK OF “TOTAL ART”

The Damnation of Faust, Eugène Frey and Ernest KlauszWhen lighting becomes decor

In the quest for “total spectacle”, artists-designers become engineers, transcending the traditional (and practical) painted backdrop in favour of monumental sets that dynamise the staging of great works from the operatic repertoire.

From the very first Wagnerian productions at Bayreuth, Carl Emile Doepler used filmic projections to animate the Ride of the Valkyries. In the early 20th century, at the Opéra de Monte-Carlo, Eugène Frey perfected this technique by immersing the audience in a spectacular play of moving images. Lighting-as-decor was further developed at the Opéra de Paris in the 1930s, by Ernest Klausz, driven by his conviction that “in this total art form – this product of collaboration between all the arts, that is opera – vision, not sound, is now the most important part.” 7 7 Letter from Ernest Klausz to Jacques Rouché, Paris, Bibliothèque nationale de France, Bibliothèque-Musée de l’Opéra, Fonds Rouché, 302-8

To Be Sung, Pascal Dusapin and James Turell

The second half of the 20th century saw several productions co-created by composers, directors and scenographers together. One of them is To Be Sung, premiered in 1994 and based on a libretto inspired by Gertrude Stein’s poetic text A Lyrical Opera Made by Two. The piece addresses the creative process of opera itself: James Turrell’s set designs are not independent of the score by Pascal Dusapin but devised in parallel with it. Subverting conventional perspective, Turrell disrupts the audience’s bearings and transforms the stage from a scenographic space into a sound and light installation. Red Eye (1992), part of Turrell’s Wedge Works series, offers the visitor an immersive, sensory experience of the artist’s work.

Eugène Frey, La Damnation de Faust, 1905 Plaque de verre peinte, 9 × 7,44 cm. Monaco, Société des Bains de mer © Société des Bains de mer, Monaco

Ernest Klausz, La Damnation de Faust, L’Enfer (30), maquette de décor, 1933 Gouache sur papier, 29,5 × 44,5 cm Paris, Bibliothèque nationale de France, bibliothèque-musée de l’Opéra, ESQ O-1933 (DAMNATIONDEFAUST 30) © Bibliothèque nationale de France, Paris © Remy Klausz

To Be Sung, mise en scène de Pascal Dusapin Installation scénographique de James Turrell, théatre des Amandiers, Nanterre, 1994, avec Sarah Leonard, Susan Narucki et Rosemary Hardy. Photo Marthe Lemelle. Courtesy de la photographe © Marthe Lemelle © James Turrell


13

This section looks at experimental approaches to the work of Richard Wagner, from Adolphe Appia to Romeo Castellucci, Wieland Wagner and Josef Svoboda. It shows how the rejection of naturalistic presentation and the development of innovative, stylised forms have cast the expressive power of Wagnerian narratives in a new and different light, and brought about a major shift in public taste. Parsifal’s striking distension of time opens the way to a vast spectrum of possibilities for the work’s staging and scenography. The aura of this exceptional work, and Gurnemanz’s ringing declaration in Act I – “Here, time becomes space” (itself a kind of visionary manifesto) – spearheaded a bold quest for new directions in the arts as a whole.

For some composers, the treatment of the passage of time – as materialised by Rodney Graham – and the engagement with architecture, have become supremely important parameters thanks to work on spatialization, and the transformation of the performance space itself.For many, the classical Italianate model is obsolete: opera steps outside its conventional setting to embrace new structures or shape new approaches to the stage or auditorium that re-examine its relationship to the audience. Guillermo Kuitca’s plans for the transformation of auditoriums encapsulate new thinking on ways to “open up” the presentation and perception of opera.

5. “HERE, TIME BECOMES SPACE.”

Prometeo, Renzo Piano

Premiered at the 1984 Venice Biennale, Luigi Nono’s opera Prometeo, on a libretto by Massimo Cacciari, is presented in a custom-built setting by Italian architect Renzo Piano – a vast wooden shell that filled the interior of the church of San Lorenzo in Venice’s Castello sestiere, like the sound-box of a musical instrument. Subtitled a “tragedy of listening” by its composer, Prometeo is part of a movement that takes the staging and perception of opera to extremes. The revolutionary purpose-built space typifies the preoccupation of many artists and designers with the development of expressive forms that harness new technologies. It further enacts the composer’s aesthetic critique of opera itself: the symbol of an outmoded rite, an entertainment frozen in time, disengaged from politics or contemporary thought.

6. EINSTEIN ON THE BEACH

Einstein on the Beach aims to present a “close-up” portrait of Albert Einstein through a series of visual and audio “suggestions”, together with a “panoramic” evocation of his life, dreams and influence.8

After several months of rehearsal in the USA, this beacon of late 20th-century opera was first performed at the Avignon festival on July 25th 1976; without the support of the French cultural scene, the piece would likely never have seen the light of day. This total artwork, the brainchild of director Robert Wilson and composer Philip Glass, in close collaboration with choreographers and dancers Lucinda Childs and Andrew de Groat, breaks every rule in the operatic book. Wilson and Glass considered a number of key 20th century figures – Charlie Chaplin, Adolf Hitler, Gandhi – before finally devoting the piece to Albert Einstein, the best-known scientist of his day. The choice enabled the pair to invent a new theatrical form, free of artificial narrative conventions, through which to explore a prominent theme in their œuvre: a particular sense of the structure of space-time.9

The work’s storyboard is a vital testimony to Wilson’s subtle creative process: the opera is conceived as a series of images, with light and shadow cast as essential elements in its staging. Each vignette contributes to the forging of a sequence within which time unfolds through infinitesimal variations from one “set” to the next. In the work’s second movement, Philip Glass extends this visual fabric by composing “each section on the piano, as a kind of musical portrait of each set”.10 Traditional dramaturgical structure is shattered and reorganised into a rhythmic flux of sound and images that turns our perception of space and time on its head. 8 Bob Wilson quoted in Le Figaro, 8 juillet 19769 Bob Wilson quoted in Einstein on the Beach, Paris, Dilecta, 2012, p.14910 Philip Glass quoted in Laurence Shyer, Robert Wilson and his collaborators,

New York, Theater Communications Group, 1989

Guillermo Kuitca, The Met, 2002 Impression à jet d’encre et aquarelle sur papier, 21,5 × 28 cm Paris, Centre Pompidou, Musée national d’art moderne, AM 2012-565 Courtesy de l’artiste et Hauser & Wirth / Stefan Altenburger Photography Zurich © André Morin/Dist. RMN-GP / © Guillermo Kuitca, courtesy Hauser &Wirth

Luigi Nono, Prometeo. Tragedia dell’ascolto Feuillet de la partition autographe, s. d. [vers 1980].Transposition graphique pour une étude de l’intensité sonore et organique (prologue). Crayon de couleur sur papier, 25,5 × 35,5 cm Venise, Archivio Luigi Nono © Fondazione Archivio Luigi Nono / © Eredi Luigi Nono, per gentile concessione


14

Many Western composers see opera as a sacred space within which to conjure the divine. In its monumentality, and its capacity to command the senses, this total artform is ideally suited to the expression of transcendent spirituality – a pathway centred on the correspondences between colours, sounds and images.

The sacred phenomena of revelation and epiphany lend themselves to the development of a synaesthetic sensibility, the physical manifestation of “something understood” or transferred between the arts, and the disruption of conventional boundaries between the senses. Similarly, the dialectic between text and music, and their alternating primacy within the medium of opera, is a central issue, frequently addressed.

In Arnold Schoenberg’s unfinished opera Moses and Aaron, the discursive tension between the aura of the singing voice and the declarative power of the spoken word unfolds to powerfully expressive effect. Romeo Castellucci’s highly personal production of this masterpiece magnifies this duality and addresses the power of the image, its necessity and its limits.

Here, the score resonates with English artist John Murphy’s sumptuous cycle of works under the incantatory title O Dio Rispondi. Schoenberg’s music fades and is extinguished in the final bars on an open-ended, almost meditative question, with Moses’s declaration: “Oh Word, thou word that I lack!”

7. THE BIBLICAL PATH AND SPIRITUAL SYNTHESIS

Moses und Aron, Romeo Castellucci

Italian visual artist, stage director, scenographer, costume and lighting designer Romeo Castellucci (b.1960) is celebrated as one of the leading figures in contemporary theatre over the past twenty-five years. On stage at the Opéra Bastille – for his production of Moses and Aaron, an opera centred on the expression and representation of the word of God – Castellucci presents a series of mysterious, dreamlike tableaux centred on a continuous dialogue of raw materials, bodies, landscapes and symbols.

Moses und Aron (Moïse et Aaron), Opéra Bastille, Paris, 2015 Photo Bernd Uhlig Courtesy du photographe et de l’Opéra national de Paris © Bernd Uhlig / Opéra national de Paris © Romeo Castellucci



15

Responding to Rolf Liebermann’s invitation to create a work for the Opéra national de Paris, Olivier Messiaen chose to illustrate the spiritual path of St Francis of Assisi. Eight years in the making, the work – as premiered in 1983 at the Palais Garnier – revealed staging and design choices influenced by the composer, who provided a detailed description (in particular) of the costume worn by the figure of the angel, itself inspired by a fresco by Fra Angelico. Almost thirty years later, in 2011, Messiaen’s opera became a monument to synaesthesia, with a production for the Bayerische Staatsoper in Munich, including scenography and costumes by Hermann Nitsch, the co-founder of Viennese Actionism, who saw the operatic stage as a reflection of his belief in the possibility of total art. Creating a nodal connection between his theory of colours and sounds, and Messiaen’s mystical synaesthesia, Nitsch transforms the opera into a form of ritual theatre in which the narrative and reality of the Actionist performance answer one another continually.

One act of the exhibition is entirely given over to this important production at the Bayerische Staatsoper. Presented in their own enclosed setting, the projections and costumes created for Saint François d’Assise resonate with Nitsch’s performative practice, and his paintings.

8. SAINT FRANÇOIS D’ASSISE

Daniel Cande, Saint François d’Assise, photographie de scène, mise en scène de Sandro Sequi, décors et costumes de Giuseppe Crisolini-Malatesta, palais Garnier, Paris, avec Christiane Eda-Pierre (L’Ange), 1983 Paris, Bibliothèque nationale de France, département Arts du spectacle DIA-PHO-6 (2167) / vue 73 © Bibliothèque nationale de France, Paris / photo Daniel Cande

Saint François d’Assise mise en scène, scénographie, décors et costumes de Hermann Nitsch, Bayerische Staatsoper, Munich, 2011. Photo Wilfried Hösl Courtesy du photographe et Bayerische Staatsoper, Munich © Wilfried Hösl / Bayerische Staatsoper München © Adagp, Paris 2019


16

9. “I WANT TO BUILD AN OPERA”

Belying its superficial appearance and reputation as an entertainment for the bourgeoisie, many artists see opera as a forum for political engagement.

From a political perspective, opera has frequently demonstrated its ability to relate both the complexity of human relationships through the wealth of messages it conveys, and great events marking the history and evolution of humanity and society.

Creative artists from diverse horizons have engaged boldly with the repertoire, or proposed alternative forms and approaches in previously unexplored settings, seizing on the multi-sensory nature of opera as a way to enshrine new utopian visions with the potential, if not actually to redeem mankind, then at least to set new ideas in motion.

The year 1961 saw the premiere of Luigi Nono’s opera Intolleranza 1960 at La Fenice in Venice, with scenography by the painter Emilio Vedova and designer Josef Svoboda. The opera is a powerful telling of the destiny of a refugee and his wanderings through society. Fifty years later, Kara Walker transposed the plot of Vicenzo Bellini’s opera Norma from Roman-occupied Gaul to an African country under the yoke of late 19th century European colonialism. Christoph Schlingensief’s opera village, initiated in Burkina Faso in 2009, erases the boundaries between fiction and reality by establishing lyric theatre as an art at the very heart of everyday life.

In a slow but swelling crescendo, and transcending its European origins, Western classical opera is becoming a platform for exchange and dialogue between cultures. From a sensitive microcosm to a social and humanist macrocosm, the medium has established itself as a veritable mirror on the world.

Operndorf Afrika, Christoph Schlingensief

The “enfant terrible” of the German art scene, film producer, theatre and opera director, author and Actionist Christoph Schlingensief (1960-2010) spent over twenty years developing an iconoclastic, multiform and politically engaged oeuvre. His 2004 production of Parsifal at the Bayreuth Festival – treating the stage as a veritable art installation – was both controversial and passionately admired. In 2007, his version of Wagner’s The Flying Dutchman, for Brazil’s Teatro Amazonas in Manaus, blended the Wagnerian narrative with Brazilian culture. A few years before his death, Schlingensief launched an ambitious, utopian project which he saw as his greatest work: the construction of an “opera village” in Burkina Faso.

Begun in 2009, and highly active today, the site comprises a health centre, theatre and school within an ensemble of buildings designed by Burkinabe architect Francis Kéré. A symbol of freedom and the breaking down of boundaries, Schlingensief’s opera village challenges the many conventions of the once closely circumscribed world of opera.

Norma, Teatro La Fenice, Venise, 2015 Photos Michele Crosera Courtesy du photographe et du Teatro La Fenice, Venise


17

As the vector for the medium’s unique expressive power, the operatic performer’s onstage presence (and body) are a central focus of attention.

As a sacred temple of the voice, opera stands as the symbol and (literal) embodiment of the Gesamtkunstwerk. From stage whispers to bel canto, recitative and resounding cries, the voice is the messenger of this “operatic body”. Fixed, monolithic attitudes were still a feature of early 20th century productions, as seen in the photograph of Alice Guszalewicz as Brunnhilda, dating from 1911-12. Modernism ushered in more subtle, convincing body language and acting, both of which have evolved in significant and salutary ways, thanks to the involvement of directors from the worlds of theatre, film and more recently, dance – taking performers into new and unexplored territories.

From the expressionistic power of Teresa Stratas in Alban Berg’s Lulu, lauded by Patrice Chéreau, to Barbara Hannigan’s brilliant tour de force in the same opera (singing the title role on ballerina pointes in Krzysztof Warlikowski’s production), the physical demands of opera performance are limitless.

Echoing these shifting states and incarnations, the stage is a transformational space, as seen in the video of Christoph Brech’s Portrait of Wolfgang Koch. Rapt faces, naked limbs and supremely expressive physiques constitute a portrait gallery that unfolds from the work of Paul Klee and Nina Childress, to Michel Delluc’s live snapshot of Christiane Eda-Pierre, the legendary stage photographs of Bluebeard (choreographed by Pina Bausch), Robert Wilson’s Pelléas and Mélisande, and the dreamlike work of Federico Fellini.

10. OPERATIC BODIES

Aloïse Corbaz

Placed in psychatric care at the age of 22 until her death in 1964, Aloïse Corbaz developed a colossal œuvre, at first in secret, using whatever materials lay to hand, and later with sketchbooks and pencils procured with the cooperation of her doctors. In 1946, Doctor Jacqueline Porret-Forel showed Corbaz’s work to Jean Dubuffet, who organised the artist’s first solo exhibition two years later, at the Foyer de l’Art Brut in Paris. Aloïse Corbaz dreamed of becoming a singer and was frequently reported as singing operatic arias by her nurses. Fascinated by the world of performing arts, music and the great figures of history, she devoted a significant portion of her work to depictions of the female opera singers she admired, including Jenny Lind (1820-1887), La Malibra (1808-1836) and the soprano Lilas Goergens, pictured here in a scarlet cloak, a colour used by Corbaz to symbolise love and power.

Nina Childress

As a young woman, Nina Childress was a member of the punk band Lucrate Milk (1981-1984), before discovering a love of opera quite by accident, at a performance of Peter Tchaikovsky’s Queen of Spades in 1999. Childress was a traditional painter, working from photographs, but refreshed the genre nonetheless with her portraits of female singers, including Ewa Podleś, the subject of her magisterial portrait 793 – famous contralto (2008). Childress chose a photograph of the Polish singer in an early role as Rinaldo at the New York Metropolitan Opera in 1984. With its emphasis on Podleś’s proudly worn moustache, and her majestic feather head-dress, the bust-length portrait challenges conventional perceptions of gender, and the artifice of show-business.

Aloïse Corbaz, Grande Cantatrice Lilas Goergens, 1960-1963 Craie grasse sur papier, 65 x 50 cm Lausanne, Musée cantonal des beaux-arts, prêt à long terme à la Collection de l’art brut, Lausanne, MCBA-2011-75 © Atelier de numérisation – Ville de Lausanne, Marie Humair © Association Aloïse

Nina Childress, 793 – famous contralto, 2008 Huile sur toile, 195 x 130 cm Collection Ewa Podleś et Jerzy Marchwinski. Photo Andrzej Świetlik © Adagp, Paris 2019


18

3. CATALOGUEThe exhibition catalogue Opera as the World. The quest for a total work of art, edited by curator Stéphane Ghislain Roussel, presents an ambitious survey of the relationship between opera and the visual arts, from Wagner to the present.

The lavishly illustrated reference volume explores this multifaceted topic through a selection of over fifty pivotal works. Essays and previously unpublished interviews with some thirty specialists in the field, backed by extensive scholarly apparatus, examine the aesthetic and political questions posed by opera and the ideal of “total art”.

DANIELLE COHEN-LEVINASCOMPOSING WITH TIME: THE EXCEPTION OF OPERA EXTRACT

“It falls to us, still, to make the negative; the positive, we already have.” Franz Kafka

Is it possible, today, to re-open the case on opera? Current opinion wavers between the unconditional preservation of the lyric theatre tradition as historically established in Europe, and a desire to refresh its codes, conventions, forms and vocabulary. To the extent that, over time, the fate of opera itself has become confused with the musical issues confronting each modern movement, as if writing a lyric work were tantamount to composing with time itself. The Ancient Greeks were clear-headed: mousike was the art of (all) the Muses, and unconfined to the spoken word. It demanded extravagance and excess, tragedy, drama and the hand of Fate. It demanded blood and tears, generosity and treason, heroines and heroes, victims and people of power, transcendental forces and social conflicts. It demanded the material existence of the living, and the immaterial presence of death. In other words, it demanded that human nature be laid bare for all to see, in order to depict the passions of civilisation at their darkest or most sublime. The timescale of opera is, by necessity and above all, the timescale of human life.

HANNAH DÜBGENOPERA UTOPIA? EXTRACT

Opera is the home of emotional extremes: amorous ecstasy and furious jealousy. The thirst for freedom and the longing for death are depicted, narrated, celebrated. “We bear witness to the very real existence of these burning emotions,” writes the author and film-maker Alexander Kluge, an opera buff and theorist for whom the musical genre constitutes a gauge of the depth of feelings potentially available within each and every one of us. In other words: opera shows us what we ourselves are capable of feeling. Opera as an act becomes socially significant, not to say explosive, when the prevailing social order – for moral, religious or economic reasons – suppresses or simply de-values the expression of these deep-seated emotions. Because the negation of our emotional needs is naturally far more effective when the emotions in question are alien to us. The closer they touch us, however, the better we are able to sense or even feel directly our emotional potential, and the harder it becomes to refuse the invitation to engage. This is certainly true of private emotions such as desire, love, mourning or jealousy. But it is above all in relation to our collective, shared, emotions that the true potential of opera’s utopian capacity to connect us to our innermost feelings is fully revealed.

OPERA AS THE WORLDEXHIBITION CATALOGUEEDITED BY STÉPHANE GHISLAIN ROUSSELPUBLISHED BY CENTRE POMPIDOU-METZ, CO-EDITION WITH THE RMNHARDBACK, 320 PP, FORMAT 22 X 28 CMLANGUAGE: FRENCHPUBLICATION DATE: JUNE 19, 2019ISBN: 978-2-7118-7439-2


19

4. FIVE QUESTIONS TO THE EXHIBITION CURATOR

STÉPHANE GHISLAIN ROUSSELInterdisciplinarity, opera and the concept of “total art” are central to the work of Stéphane Ghislain Roussel, a trained violinist and musicologist who now pursues a career as a researcher, programme planner, exhibition curator, playwright and director. Founded in Luxembourg in 2012, his company Ghislain Roussel-PROJETEN is a creative bureau that develops experimental theatrical forms based on the relationships and interaction between music, imagery, text and the body, at the crossroads of artistic disciplines.

CENTRE POMPIDOU-METZ – How did the idea for this exhibition come about? Has the topic been addressed before in this form?

STÉPHANE GHISLAIN ROUSSEL – The idea for the exhibition first came to me a very long time ago, when I was starting out in my career, working with Emma Lavigne at the Musée de la Musique in Paris. We were both very interested in interdisciplinarity in the arts, and together we organised an exhibition of designs by Roland Topor for György Ligeti’s opera Le Grand Macabre (some of which are on show here in Metz). The project was on a small scale and sought to show how an artist could “take centre stage” in the world of lyric theatre. The desire to create a much larger exhibition on opera and the visual arts has always been there, with the aim of showing how opera responds to a genuine desire for “total art” by bringing together the contrasting aesthetics of the full range of artistic disciplines. The exhibition Opera as the World. The quest for a total work of art is something quite new, in a way, because it’s a subject that’s never been tackled on such a large scale before in a major exhibition focussing on the world of opera. The itinerary deliberately avoids a chronological approach and doesn’t aspire to be an exhaustive exploration of the theme. In fact, the exhibition is conceived as a grand opera, divided into acts, each with its own time-frame, its own tempo, beginning with an “overture”, in the Forum, featuring a gigantic figure of King Kong created by Małgorzata Szczęśniak (who also designed the exhibition) for Leoš Janáček’s opera The Makropoulos Affair. Different sections or “scenes” follow on from here. For example, the first, entitled “My painting is my stage”, shows how stage decoration can gradually transform a painting into a set, through the practice of major artists like Natalia Gontcharova or David Hockney. Next, the itinerary takes us from the question of total art to the links between opera and the performance space. Pivotal works like The Magic Flute – that masterpiece of classical opera – and avant-garde pieces like Philip Glass’s Einstein on the Beach, or Saint François d’Assise, are important foci, too. After that, the exhibition tales a broader look at the political aspects of opera, its utopian quality, and its potential as a forum for the expression

of politically-engaged messages – as with German artist Christoph Schlingensief’s opera village in Burkina Faso. Schlingensief died in 2010, but today his village incorporates a theatre, a health centre and school. The exhibition closes with a large gallery exploring the place of the human body within this “total spectacle”.

CP-M – What’s the meaning of your title, Opera as the World?

SGR – We tend to think of opera as a wholly elitist art form, completely disconnected from societal or political issues and addressing only a tiny portion of the population. But when opera was born in the Italian Renaissance, it sought to reclaim the expressive power of Ancient Greek and Roman tragedy – art with the ability to change society – as part of a profoundly humanist worldview. In this sense, when we consider how opera has evolved, it is still very much an entertainment, but also a mirror on the world, addressing and exploring social and cultural issues, the European question, and wider geopolitical concerns. A shining light in this instance is Luigi Nono’s opera Intollerenza 1960, which relates the destiny of a refugee. The exhibition stresses this more politically engaged side of opera.

CP-M – How does the exhibition address the question of the “total artwork”?

SGR – The question of the total artwork is subtle, complex and fascinating, because often, we categorise the idea as utopian. Personally, I feel that total art can exist if the full range of talents is brought together. The concept is expressed in a variety of ways in the exhibition, notably through the work of Richard Wagner, of course, who for many years theorised the concept of what he called “the artwork of the future”, which he saw as a means by which to transform individuals and society. The problem was that Wagner relegated the image to an ambivalent, wholly secondary status, while subsequent, experimental works by the Russian and German avant-gardes gave it a new and special prominence. The exhibition shows how total art can assume a variety of forms – sometimes monumental, at others more intimist – but always in the pursuit of great expressive power, delivering a shock to the viewer’s senses.

CP-M – How do you exhibit this living art?

SGR – Opera is a synthesis of all the performing arts, and the focus on song gives it an extraordinary spontaneity: opera singers aren’t amplified, nor do they lip-synch to recordings. Opera is profoundly “alive” in


20

that sense, but at the same time it’s performed in a setting that creates its own temporality, a space “out of time”. The exhibition is conceived as a kind of cross-disciplinary counterpoint, with its own musical tempo – from preparatory sketches to video elements, the stage curtain, costumes, immersive installations and of course, recordings and film extracts. This dynamic approach is powerfully underscored by the work of Małgorzata Szczęśniak, an exceptional opera designer, whom we commissioned to design the exhibition’s architecture and scenography.

CP-M – Tell us about the highlights of the events programme around the exhibition?

SGR – The associated events are integral to the exhibition and emanate from its content. In the exhibition catalogue, the events are treated as a work in their own right, a “living extension” of the displays. There’s a great deal going on - one highlight is a weekend of performances on November 30th and December 1st, 2019, featuring choreography, theatre and film - the coming together on-stage of two a priori mutually exclusive genres, namely opera and performance art. We will also be screening Matthew Barney’s River of Fundament – for the first time the artist has agreed to show the film outside a musical or operatic auditorium. There’s an open-air screening, too, of The Flying Dutchman by Shaun Gladwell, an Australian surfer and a major figure on the contemporary art scene, whose magnificent film is a dreamlike voyage to the music of Richard Wagner. There’s much more to enjoy, and some important celebrations, too, notably a superb recital by the Académie de l’Opéra de Paris (marking the Opéra national de Paris’ 350th anniversary), and a whole series of talks, debates and panel discussions. Towards the end of the season, choreographer Bintou Dembélé – who worked with Clément Cogitore on his production of Les Indes galantes, to be staged at the Opéra Bastille in September 2019 – presents an afternoon of improvisation, with his troupe of dancers.

Grazia Toderi, Semper eadem, 2004 Projet spécial pour le théatre La Fenice de Venise Projection vidéo en boucle, couleur, sonore, dimensions variables, Courtesy de l’artiste © Adagp, Paris, 2019


21

5. LIST OF CREATORS

Adolphe Appia (1862-1928)Matthew Barney (b. 1967)Pina Bausch (1940-2009)Ingmar Bergman (1918-2007)Christoph Brech (b. 1964)Max et Gotthold BrücknerBerlinde De Bruyckere (b. 1964)Robert Carsen (b. 1954)Romeo Castellucci (b. 1960)Nina Childress (b. 1961)Giorgio de Chirico (1888-1978)Clément Cogitore (b. 1983)Aloïse Corbaz (1886-1964)Carl Emil Doepler (1824-1905)Michel Delluc (b. 1936)Ewald Dülberg (1888–1932)Federico Fellini (1920-1993)Achim Freyer (b. 1934)Eugène Frey (1863-1930)Natalia Gontcharova (1881-1962)Dominique Gonzalez-Foerster (b. 1965)Rodney Graham (b. 1949)Pieter van der Heyden (1530-1576)David Hockney (b. 1937)Derek Jarman (1942-1994)C.T. Jasper (b. 1971)Vassily Kandinsky (1866-1944)William Kentridge (b. 1955)Vergine Keaton (b. 1981)Anselm Kiefer (b. 1945)

Ernest Klausz (1898-1970)Paul Klee (1879-1940)Oskar Kokoschka (1886-1980)Guillermo Kuitca (b. 1961)Kasimir Malevitch (1879-1935)Joanna Malinowska (b. 1972)Julie Mehretu (b. 1970)Lucia Moholy (1894-1989)László Moholy-Nagy (1895-1946)John Murphy (b. 1945)Hermann Nitsch (b. 1938)Pier Paolo Pasolini (1922-1975)Renzo Piano (b. 1937)Alfred Roller (1864-1935)Anri Sala (b. 1974)August Sander (1876-1964)Karl Friedrich Schinkel (1781-1841)Karen Sargsyan (b. 1973)Christoph Schlingensief (1960-2010)Arnold Schönberg (1874-1951)Josef Svoboda (1920-2002)Małgorzata Szczęśniak (b. 1954) Grazia Toderi (b. 1963)Roland Topor (1938-1997)James Turrell (b. 1943)Emilio Vedova (1919-2006)Bill Viola (b. 1951) Wieland Wagner (1917-1966)Kara Walker (b. 1969)Robert Wilson (b. 1941)


22

6. LIST OF OPERAS

Wolfgang Amadeus Mozart The Magic FluteCreation in Theater auf der Wieden, Vienna, 1791 New production at Théâtre royal de La Monnaie, Brussels, 2005Staging, sets and costumes : William Kentridge

Vincenzo Bellini NormaWorldwide creation at Teatro alla Scala, Milan, 1831New production at Teatro La Fenice, Venice, 2015Staging, sets and costumes : Kara Walker

Hector Berlioz The Damnation of FaustWorldwide creation in concert versionat Opéra-Comique, Paris, 1846New production at Palais Garnier, Paris, 1933Staging : Pierre ChéreauSets : Étienne RetVideo sets : Ernest Klausz

Richard Wagner Tristan and IsoldeCreation at Königliches Hoftheater, Munich, 1865New production at the Opéra Bastille, Paris, 2005Staging : Peter SellarsVideo : Bill Viola

Claude DebussyPelléas and MélisandeCreation at Opéra-Comique, Paris, April 30th 1902New production at Palais Garnier, Paris, 1997Staging and scenography : Robert Wilson

Nikolaï Rimsky-KorsakovThe Golden CockerelCreation at Théâtre Solodovnikov, Moscow, 1909New production (opera ballet version of the Russsian ballets by Serge de Diaghilev) at Palais Garnier, Paris, 1914Choreography and staging : Michel FokineSets and costumes : Natalia Gontcharova

Arnold SchönbergThe Hand of FateCreation at Volksoper de Vienna, 1924Staging : Josef TurnauSets : Eugen Steinhof

Moses and AaronCreation in concert version at Hamburger Musikhalle, Hamburg, 1954New production at the Opéra Bastille, Paris, 2015Staging, sets, costumes and lights : Romeo Castellucci

Igor StravinskyThe Rake’s ProgressCreation at Teatro La Fenice, Venice, 1951New production at Glyndebourne, Lewes, June 21st 1975(Glyndebourne Opera Festival)Staging : John CoxSets and costumes : David Hockney

Luigi NonoIntolleranza 1960 creationWorldwide (in italian) at Teatro La Fenice, Venice, 1961Staging : Václav KašlíkSets and costumes : Emilio VedovaScenography : Josef Svoboda

Luigi NonoPrometeo. Tragedia dell’ascolto creationWorld premiere at the San Lorenzo church, Venice, 1984Sound space : Renzo Piano

Philip Glass & Robert WilsonEinstein on the BeachWorldwide creation at Théâtre municipal of Avignon, 1976Music : Philip GlassStaging, sets et lights : Robert WilsonChoreography : Lucinda Childs et Andrew De Groat

György LigetiLe Grand MacabreCreation at the Opéra royal of Stockholm, April 12th 1978New production at Teatro Comunale in Bologna, 1979Staging : Giorgio PressburgerSets and costumes : Roland Topor

Olivier MessiaenSaint François d’AssiseCreation at Palais Garnier, Paris, 1983New production at the Nationaltheater, Munich, 2011Staging, scenography, sets and costumes : Hermann Nitsch

Pascal DusapinTo Be SungWorldwide creation at théâtre des Amandiers, Nanterre, 1994Staging : Pascal DusapinInstallation and scenography : James Turrell

Kaija SaariahoOnly the Sound RemainsWorldwide creation at the De Nationale Opera, Amsterdam, 2016Staging : Peter SellarsSets : Julie Mehretu


23

Dominique Gonzalez-Foerster, Helen & Gordon, 2015 / 2016 Eisener Vorhang (projet « Rideau de fer »), Staatsoper de Vienne C-print, 12 × 14,7 m. Courtesy museum in progress, Vienne © Adagp, Paris 2019

Part fiction, part reality, Dominique Gonzalez-Foerster’s work draws on influences from the worlds of opera, literature and film. As an admirer of compositions by Puccini, Verdi and Philip Glass, she dreams of staging an opera of her own one day. Her environment OPERA (QM.15), created in 2016, featured the instantly-recognisable face of Maria Callas in her famous red dress – a “powerful, obsessional figure” – incorporated in holographic form, creating a ghostly presence lulled by recordings of the singer’s best-known arias.

In 2015, the museum in progress jury, presided by Daniel Birnbaum and Hans-Ulrich Obrist commissioned her to create a work for the steel curtain at the Vienna Staatsoper. Helen & Gordon is the title chosen by the artist for the resulting piece.

Here, Gonzalez-Foerster embodies the figure of the painter Helen Frankenthaler, imitating photographer Gordon Parks’s celebrated portrait for Life magazine in 1957, showing her in her studio, on one of her canvases. The Vienna curtain has been meticulously reproduced and hung onstage at Opéra-Théâtre de Metz Métropole.

Dominique Gonzalez-Foerster has also created a new “apparition”, entitled Marienbad électrique, as a “surprise” for the theatre audience, after the steel curtain is raised. The piece reflects the spirit of other works by the artist, featuring the emergent figures of Fitzcarraldo or Marilyn Monroe.

Gonzalez-Foerster’s work extends the experience of Opera as the World. The quest for a total work of art, transporting the visitor to the heart of her creative world and providing a unique opportunity to discover one of France’s oldest working theatres.

Both works are presented at the Opera-Théâtre de Metz Métropole as part of the Pierres Numériques program, from the Metz Constellations festival and will be presented in parallel at the Palais Garnier in Paris.

Throughout the summer, the Opéra-Théâtre de Metz Métropole will be open for the Metz Constellations Festival night tour and this work will be accessible like the others presented in the Pierres Numériques program. For more information, see the Metz Constellations program.

The electric Marienbad, designed by Dominique Gonzalez-Foerster, is a joint commission of the Opéra national de Paris and the Centre Pompidou-Metz.

The project, hosted at Opéra-Théâtre de Metz Métropole, received the support of Metz Métropole as part of the Metz Constellations Festival, a festival of the City of Metz, organised in partnership with the European program INTERREG, the Grand Est Region, the Department of Moselle, Metz Métropole and Inspire Metz.

OPÉRA-THÉÂTRE DE METZ MÉTROPOLE OPÉRA NATIONAL DE PARIS

Dominique Gonzalez-Foerster, Helen & Gordon / Marienbad électrique

7. BEYOND THE WALLS WORKS


24

Mamiya, Marin Lamacque (violins), Hsing-Han Tsai (cello), Beatriz Ortiz Romero (viola).Nikolaï Medtner, I loved thee, opus 32 no.4; Spanish romance, opus 36, no.4; The angel, opus 36, no.1Richard Strauss, Breit über mein Haupt, opus 19, no.2; Allerseelen, opus 10, no.8: Maciej Kwasnikowski (tenor), Edward Liddall (piano).Bela Bartok, Piano quintet (1st movement): Misa Mamiya, Marin Lamacque, Hsing-Han Tsai, Beatriz Ortiz Romero, Edward Liddall (piano)Wolfgang Rihm, Neue AlexanderliederDimitri Shostakovitch, Three melodies based on sonnets by Michelangelo, Dante, Creativity, Immortality: Alexander York (baritone), Edward Liddall (piano).Alban Berg, Die sieben frühe Lieder: Marianne Croux (soprano), Benjamin d’Anfray (piano). In association with the Académie de l’Opéra national de Paris, as part of celebrations marking the 350th anniversary of the Opéra national de Paris.

SAT. 29.06 DER FLIEGENDE HOLLÄNDER / THE FLYING DUTCHMAN10:30 P.M. | Parvis | Admission free Screening | 135’ | by Shaun Gladwell 9.15 P.M. | In conversation with artist Shaun Gladwell From the outset of his career, Australian video artist Shaun Gladwell has presented his own body, and the bodies of sportspeople, dancers or surfers, in urban and oceanic settings. In 2013, the Rotterdam Opera commissioned Gladwell to create a video for The Flying Dutchman, transposed to the aquatic, choreographic world of surfing, and breathing new life into the Wagnerian tale. For Gladwell, the tragic Romanticism of Wagner’s fantasy – the tragedy of the world at large – resides in the ocean and its endlessly-breaking waves. From The Flying Dutchman to his film Morning of the earth, Gladwell’s interpretation alternates between profound respect for the classic opera, and a peon to the freedom of the body. His (literally) immersive video transports the viewer to the very core of the opera, its structure, movements and climactic moments.

First performed at the Rotterdam Opera, 2013“[…] in front of a work by Shaun Gladwell, the viewer does not look from a distance – rather, we enter into the image itself. The embodiment of movement, in the body, in life – in the work. Shaun Gladwell doesn’t so much offer a dancer’s body for our admiration and enjoyment, as the very sensation of these living bodies.” Barbara Polla

Shaun Gladwell burst onto the Australian art scene with his video production Storm Sequence (2000), a self-portrait of the artist riding a skateboard in extreme slow motion while a storm prepares to break over Bondi Beach. Gladwell is noted for his video works, photographs and evocative, large-scale sculptures. He represented Australia at the Venice Biennale in 2009.

FRI. 28.06 ACADÉMIE DE L’OPÉRA NATIONAL DE PARIS7:30 P.M. | Studio Concert | 75’

Celebrating 350 years of the Opéra national de Paris, the Académie de l’Opéra national de Paris presents a concert performance of Lieder and melodies resonating with works featured in the exhibition Opera as the World. Devised by artists-in-residence at the Académie, the programme will feature work by composers including Claude Debussy, Alban Berg, Béla Bartók and Igor Stravinsky.Conceived as a counterpoint to the exhibition itinerary, the concert offers an imaginative catalogue of impressionistic and expressionistic sound pictures, reflecting how the intimate musical landscapes of opera mirror the wider world. Francis Poulenc, Le Travail du peintre: Jeanne Ireland, mezzo-soprano, Benjamin d’Anfray, pianoIgor Stravinsky, Three works for string quartet: Misa

8. RELATED EVENTSDevised by curator Stéphane Ghislain Roussel, the programme of related events – performances, talks, round - tables and themed evenings – is conceived as a direct extension of the exhibition, resonating with its core themes. Reflecting this, all events are discussed in the relevant chapters of the exhibition catalogue, and not as a separate category.

Académie de l’Opéra national de Paris. Photo © Studio J’adore ce que vous faites !


25

Gladwell has exhibited worldwide at venues including the Royal Academy of Arts (London), the Orange County Museum of Art in California, KUAD gallery (Istanbul), the Palais de Tokyo (Paris) and the Musée d’Art Contemporain in Lyon (France).

21.06 > 02.09 3E SCÈNEScreening | From 10:00 A.M. (as per the exhibition’s opening times)

Since 2015, 3e Scène (“3rd Stage”) at the Opéra national de Paris has used digital technology to promote a broad range of contemporary creative artforms through original works offering a fresh perspective on the worlds of music and dance, and on the heritage, skills, and architectural settings of opera.As a forum for artistic experiment and exploration, this digital stage gives carte blanche to creative practitioners from diverse horizons: visual and graphic artists, film-makers, composers, photographers, choreographers and writers are invited to forge links with the worlds of opera and dance.

With 3e Scène, the Opéra de Paris creates a beyond the walls opera space promoting access to the medium for the widest possible public and engaging new audiences through dialogue with younger generations. Admission is free and open to all: each month, a new work enters the catalogue presented by 3e Scène.Works presented by 3e Scène reach an ever-expanding audience through screenings at film festivals and a broad

range of cross-cultural events in France and abroad (partnerships with Centre Pompidou, the Fonds Hélène & Édouard Leclerc in Landerneau, Nuit blanche de Paris, the Gaîté Lyrique, the Rencontres d’Arles, Beirut Art Film Festival, Festival Documenta Madrid....)

3e Scène takes a unique approach, stimulating fresh contacts between visual artists and the world of opera, some of which will form part of celebrations at the Opéra national de Paris in 2019, marking the institution’s 350th anniversary, and the 30th anniversary of the Opéra Bastille.

Following his digital film production Les Indes galantes, Clément Cogitore presents a theatrical vision of the work at the Opéra Bastille. Claude Lévêque’s work Le Lac perdu, created for 3e Scène, is followed by two new creations – one for the Palais Garnier, the other for the Opéra Bastille.

Throughout summer 2019, to coincide with the exhibition Opera as the World. The quest for a total work of art, 3e Scène / Opéra de Paris are joining forces with Centre Pompidou-Metz to present a season of films, including one new work. ProgrammeJune 21st to July 31st:– Matching numbers, Xavier Veilhan 14’24– Patterns of life, Julien Prévieux 15’59– États transitoires, Ill-Studio 5’18– Étoiles, I see you, Wendy Morgan 2’49– La grande sortie, Alex Prager 10’– Giselle: The Walking Landscape, David Luraschi 4’08– C’est presque au bout du monde, Mathieu Amalric 15’41– Nephtali, Glen Keane 3’43

August 1st to September 2nd:– Le lac perdu, Claude Lévêque 7’35– Ne me regarde pas, Stephanie Solinas 10’10– Vibrato, Sébastien Laudenbach 7’23– De longs discours dans vos cheveux, Alexandre Steiger 12’17– Blue, Apichatpong Weerasethakul 12’17– Breathing, Hiroshi Sugimoto 7’– Grand hôtel Barbès, Ramzi Ben Sliman 11’51– L’entretien - Inédit, Ugo Bienvenu and Félix De Givry 9’09

WED. 17.07 AND THE SHIP SAILS ON... / E LA NAVE VA10:30 P.M. | Parvis | Free admission Screening | 128’ | by Federico Fellini (1983)

Under the critical eye of Federico Fellini, eccentrics and sophisticates gather aboard a ship to scatter the ashes of a renowned opera diva. For Fellini, the voyage is the embodiment of a dying world – the last bastion of high society and its outdated rituals, on the eve of the First World War. Viewed through the camera lens, the world of opera becomes a place of nostalgia, privilege and show, soulless and devoid of sensibility. Surreal, wild and extravagant, Fellini’s unique, expressionistic style plays on the matter of opera itself in this explosive, large-than-life choral film.

Le Vaisseau Fantôme - The flying Dutchman, Shaun Gladwell, 2013.


26

SUN. 22.09 RIVER OF FUNDAMENTFrom 3 P.M. to 9 P.M. | Wendel Auditorium Screening | by Matthew Barney (2014)

River of Fundament is an operatic video work by leading contemporary artist Matthew Barney and composer Jonathan Bepler, structured over three acts and inspired by Norman Mailer’s fictional saga Ancient Evenings (1983).

The spectacular, grandiose, epic video work tells a story of regeneration and rebirth – a cinematographic journey set in Los Angeles, Detroit and New York, with a screenplay filmed in a reconstruction of Mailer’s Brooklyn house, and an imaginary underground river. Vast, immersive, dreamlike, symbolic, this vast, animalistic fresco is an authentic work of total art. At the crossroads of many different worlds, the piece’s multiple references draw myths ancient and modern into this fertile, unclassifiable art object.

“Matthew Barney has created a masterpiece: a magisterial, visual, musical and choreographic composition that lets its cast of characters roam free, depicts the world as an open wound, and questions the impermeability of cultures, and the permeability of myth and ritual in the modern world.” Libération Eric Dahan.

River of Fundament (2014) features a stellar cast, including Maggie Gyllenhaal, Paul Giamatti, Elaine Strich, Ellen Burstyn, Aimee Mullins, Herbert and Eugene Perry and Joan La Barbara. Matthew Barney is the recipient of numerous awards, including the Aperto prize at the 1993 Venice Biennale, the Prix Hugo Boss in 1996; the 2007 Kaiser Ring Award in Goslar, Germany and the Persistence of Vision prize at the San Francisco International Film Festival in 2011.

(Viewers may find some scenes upsetting. 16 years and over).

SAT. 12.10 and SUN. 13.10 OPERA AS THE WORLD A CAPELLASAT. 12.10 AT 7:30 P.M. | SUN. 13.10 AT 3 P.M.Studio | Concert | 60’Women’s chorus of the Metz Metropole Opera-Theatre

The Opéra-Théâtre de Metz Métropole presents a concert by its women’s chorus, conducted by Nathalie Marmeuse and staged by Paul-Émile Fourny. An evening of contemporary a capella music centred around Georges Aperghis’s Récitations, premiered at the Avignon Festival in 1982.The Récitations are a virtuosic blend of sounds combining words and syllables partly sung, and partly whispered or shouted, forming a fascinating imaginary language. A tour de force for the performer/singer/actor! The programme also features works by other major contemporary figures, such as France’s Pascal Dusapin, and Christophe Bertrand (a young musician who died in 2010 at the age of 29); the American fathers of repetitive music, Steve Reich and Philip Glass; and Finnish composers Olli Kortekangas and Einojuhani Rautavaara.

Clapping Music, Steve ReichIkikaiku, Olli KortekangasIAO, Christophe BertrandRécitations, Georges AperghisKiss my lips, Pascal DusapinPhilip Glass buys a loaf of bread, David IvesSuite de Lorca, Einojuhani Rautavaara

River of Fundament, Matthew Barney, 2014.

TALKS AND LECTURES

FRI. 01.11 THE PHANTOM OF THE OPERA7 P.M. | 60’Wendel Auditorium | Talk

Fuelled by Gaston Leroux’s eponymous novel of 1910, the mystery of the Phantom of the Opera casts a mysterious shadow over the Palais Garnier in Paris even today. The legend was inspired by true 19th-century story and inspired several well-known films in turn. No celebration of opera would be complete with an evening in the Phantom’s company.

With exhibition curator Stéphane Ghislain Roussel and Olivier Aldeano, Associate Artistic, Planning and Production Director at the Opéra national de Paris.

WED. 06.11 SCENIC REVOLUTIONS AND THE IMAGE POWER ON OPERA SCENES NOWADAYS7:30 P.M. | 90’Wendel Auditorium | Talk


27

FULL PROGRAMME

SAT. 30.113:30 P.M. | A journey to tomorrow island (premiere) | Christophe Haleb - Cie La Zouze

4:45 P.M. | Halka/Haiti, followed by String Quintet for 2 cellos, 2 violas and a corpse (premiere) | Joanna Malinowska and C. T. Jasper

8:30 P.M. | Operville | Ivo Dimchev

SUN. 01.122:30 P.M. | Breathless, Black and Light | Danica Dakic | 87’

4 P.M. | Gibt es kein Hinüber ? (premiere) | Sandra Pocceschi and Giacomo Strada | Video by Yuri Ancarani | c. 45’

5:30 P.M. | Trauerspiel (premiere) | Gaëtan Rusquet and Joël de France | c. 45’ | A proposition by Julien Ribeiro, Gemini’s Tears

SAT. 11.01.20 LES INDES GALANTES7:30 P.M. | Forum and Studio | Performance | Dance By Clément Cogitore in association with choreographer Bintou Dembélé

“Les Indes galantes are young people dancing around an erupting volcano.” Clément Cogitore

A group of twelve dancers will reinterpret passages of choreography from the opera-ballet Les Indes galantes, directed by Clément Cogitore and performed at the Opéra Bastille in September-October 2019 to celebrate the 350th anniversary of the Opéra national de Paris.

How can the music of Jean-Philippe Rameau animate bodies from another time, shaped by other stories? Krump, Électro, Voguing and Popping are called to the stage, connecting the incantatory quality of the Baroque music to the cathartic effect of the modern dance moves.

Clément Cogitore and Bintou Dembélé set out to dazzle us just as we wonder what it is that blots out the light; and to astonish us while questioning what remains in the shadows, turning a new, interrogatory light on the Enlightenment century.

OPERA SUNDAY10:30 A.M. + 11:45 A.M.| 45’Galerie 3 | Lectures

The creators of Opera as the world. The quest for a total work of art present in-depth lectures on a selection of major operas featured in the exhibition.

22.09 The Magic Flute, Stéphane Ghislain Roussel13.10 Saint François d’Assise, Stéphane Ghislain Roussel01.12 The Damnation of Faust, Anne Horvath 15.12 The Golden Cockerel, Anne Horvath12.01.20 Einstein on the Beach, Anne Horvath

OPERA AS THE WORLD: HIGHLIGHTS

FRI. 29.11 FITZCARRALDO8:30 P.M. | Wendel Auditorium Screening | 158’ | by Werner Herzog (1982)

Fitzcarraldo sets out on a crazed mission to build an opera house in the heart of the Amazon jungle, venturing upriver in a ramshackle steamship whose crew is forced to drag her over a mountain to reach their goal. Werner Herzog’s film derives its power from the intensity of the passionate, transcendent quest that is the quintessence of opera, and its blurring of fiction and reality (enshrined in the director’s decision to enact the boat’s voyage and journey overland in real life).

SAT. 30.11 and SUN. 01.12PERFORMANCES WEEK-ENDForum, Studio and Wendel Auditorium | Performances

Opera and performance are connected in subtle, striking and often unexpected ways, through the expressive engagement of voice and body, as seen in the exhibition’s portrait gallery, “Operatic Bodies”. Dedicated to short-form works with an emphasis on intense physicality, this weekend festival aims to link the experimental world of performance – whether improvised or closely scripted and scored – to the monumental world of opera, rooted in tradition. In a variety of spaces throughout the Centre Pompidou Metz, the event gives carte blanche to artists and duos (with the exception of Sandra Pocceschi and Gioacomo Strada) who have never collaborated with an opera house to create new work, but whose practice is nonetheless “operatic” in character.

Clément Cogitore, Les Indes galantes, 2018 Vidéo HD, couleur, sonore, 5’47’’. Production 3e Scène, Opéra national de Paris et Les Films Pelléas © Adagp, Paris 2019


28

ACTIVITIES FOR FAMILIES AND YOUNG VISITORS

The exhibition’s programme of events for younger visitors takes children behind the scenes of the world of opera – a medium often unfamilar to younger children. Workshops at the Capsule, for children aged 5 to 12, and family visits for all ages, introduce children to the backstage world of opera: design your own pop-up stage curtain, create an imaginary paper opera, or make costume accessories – something for all ages and tastes!

22.06 → 04.11 PAPER OPERA!SAT. + SUN. + PUBLIC HOLIDAYSWorkshop for children aged 5-7 at 11 A.M. | Workshop for ages 8-12 at 3 P.M. Karine Maincent | 90’ | 5€ Sign up online or on the spot (subject to availability). www.centrepompidou-metz.fr

“Opera”. An unfamiliar word to so many children. For others, it signifies a magical but intimidating world… and (perhaps) more than a few pre-conceptions. These multi-disciplinary workshops focus on the frequently spectacular costumes, decor, and architecture of opera houses around the world, taking children behind the scenes at these amazing “dream factories.”

Over the course of each workshop, children will (literally) make the world of opera their own – in paper! Imaginary operas, funny operas, off-beat, crazy operas, futuristic operas, an opera to rank with the best in the world – on a child’s scale. Artist Karine Maincent leads her paper-opera workshops in a specially designed setting inspired by the works of Kara Walker, Natalia Gontcharova and Karen Sargsyan, as featured in the exhibition Opera as the World.

Before making their very own opera, children discover the different crafts and skills that combine to make opera such a wonderful forum for creative freedom and fantasy.

Participants discover what it’s like to be an opera director, costume or set designer, and take part in activities centred around costume-making and set design.

Children create their own, original, imaginary world before bringing their very own opera to life in the form of a small paper theatre, animated progressively throughout the workshop. Budding costume-makers and designers enjoy a hands-on experience upstream in the creative process, designing costumes and making model sets, culminating in the performance itself.

22.06 → 04.11 POP’OPERA!WED. + SAT. + SUN. + PUBLIC HOLIDAYSLa Capsule, outside Galerie 1 Continuously from 2 P.M. TO 6 P.M. Karine Maincent | Free admission with an exhibition ticket

For older visitors, Karine Maincent devises a workshop focussing on the stage curtain, a vast, decorated surface visible to the audience before and after each performance. Inspired by the fabulous set models and decors featured in the exhibition Opera as the World. The quest for a total work of art, participants will use graphic elements created by the artist to compile and customise their own unique composition. Overhead projectors available at the Capsule allow everyone to try out different arrangements of shapes and motifs, creating a delightful setting bathed in light and colour, in which each participant animates the stage as they draw, in real time. The resulting compositions can be reproduced on paper, like pop-up designs. Finally, the stage curtains are hung in space.

SUN. 23.06 FAMILY WORKSHOP WITH ARTIST KARINE MAINCENT11 A.M. and 3 P.M. | 90’ 5€ per participant, for children aged 5 to 9 and their accompanying adults (+ museum ticket for over 25s).

Karine Maincent is the operatic conductor of this Paper Opera workshop, leading two one-off family ateliers. Participants create their own, colourful, cheerful opera, inspired by the works featured in the exhibition Opera as the World. The quest for a total work of art.

FROM SUN. 14.07 ONWARDS FAMILY VISITS: OPERATION OPERAChildren aged 5-9 and their accompanying adults | 3 P.M. | 60’4€ per participant, plus a same-day ticket for the museum and exhibition | Free for PASS-M and PASS-M Jeune holders

A fun opportunity to discover the world of opera en famille – its costumes, productions and set designs! On the occasion of the exhibition Opera as the World. The quest for a total work of art, children and parents explore this unique art form, combining folk art and classical music, through creative activities and play. “When can we go to the opera, Mummy?”


29

THU. 11.07 MONTIGNY-LÈS-METZ PARC EUROPA-COURCELLESDon Pasquale | Dusk at Parc Europa-Courcelles, Montigny-lès-Metz

Event organised by the city of Montigny-lès-Metz as part of celebrations marking the 350th anniversary of the Opéra national de Paris, with the support of the Fondation Orange, sponsor of audiovisual broadcasts at the Opéra national de Paris.“Foolish indeed is he who marries in old age”. Don Pasquale ends with a wise proverb, not entirely devoid of irony, summarising the errors and misfortunes of the hero, a wealthy bachelor who is eager to wed, but betrayed by his young fiancée Norina – with his nephew Ernesto. Premiered in Paris in 1843, at the crux of several époques, Don Pasquale is a composite, wide-ranging work and the apotheosis of opera buffa. The piece was first performed at the Opéra national de Paris in 2018, in a production by Italian director Damiano Michieletto that chose to spotlight the sincerity and dramatic depth at the heart of this superficially lightweight work. By Gaetano Donizetti, directed by Damiano Michieletto, with Michele Pertusi, Florian Sempey, Lawrence Brownlee and Nadine Sierra, and the Orchestra and chorus of the Opéra national de Paris, conducted by Evelino Pido.

MON. 14.10 and THU. 17.10 OPÉRA NATIONAL DE LORRAINESigurd by Ernest Reyer | 7 P.M. | Concert performance

A major work by the “French Wagner”, first performed at the theatre’s opening on October 14th, 1919 and revived now in celebration of the centenary of the Opéra National de Lorraine.

9. PARTNER EVENTSSUN. 24.11 LUXEMBOURG PHILHARMONIC ORCHESTRA Reich/Richter | 8:00 P.M. | Grand Auditorium

The ultimate life’s work: from Piano Phase (1967), the Ensemble Intercontemporain comes full circle with the new piece, Reich/Richter, from Steve Reich: the minimalist music pioneer’s first collaboration with the painter Gerhard Richter and film-maker Corinna Belz.

“Reich/Richter”Visual concert

Ensemble IntercontemporainGeorge Jackson, conductor

Steve Reich: Piano Phase and Eight LinesReich/Richter (film by Gerhard Richter and Corinna Belz)

Part of “Less is more - rainy days 2019”

Partner fare: 6 / 9 / 15€(bookings on +352-26 32 26 32)

TUE. 10.12 → SAT. 14.12 NEST - CDN TRANSFRONTALIER DE THIONVILLE - GRAND ESTAs part of its autumn 2019 season, the Nord-Est Théâtre spotlights the work of the Compagnie du Veilleur and the Ensemble Instrumental Ars Nova with a concert in two parts: Macbeth, after William Shakespeare, and Qui a peur du Loup?, by Christophe Pellet.Two productions reaching out to diverse audiences with an immersive, theatrical, musical and vocal experience. Equipped with audio headsets, the audience is invited to step into the heart of the works, in which supernatural forces disrupt the everyday order.

Macbeth, Cie du Veilleur and Ars Nova The adaptation of Shakespeare’s play focuses on the intimate story and fate of Lord and Lady Macbeth. Consumed with ambition following a prophetic vision, the couple struggle with their urge to exert their own free will, and their beliefs. Who is to blame for their all-consuming acts, and the chaos that ensues, in both their lives?

Qui a peur du loup?Specially commissioned from Christophe Pellet, Qui a peur du loup? (for children aged 8 and up) tells the story of the growing friendship between two children who invent an imaginary world through their drawings and toys, to escape the reality of their daily lives, growing up in a country ravaged by war.

Don Pasquale © Vincent Pontet - Onp Captation réalisée par Vincent Massip, coproduite par l’Opéra national de Paris et la Belle Télé, avec la particiation de France télévisions. © Opéra national de Paris - La Belle Télé - 2018


30

OPÉRA-THÉÂTRE DE METZ MÉTROPOLECentre Pompidou-Metz and the Opéra-Théâtre de Metz Métropole present an unprecedented joint programme centred on the centred on the exhibition Opera as the World.

ALL AGES

Dance highlightsSAT. 16.11 | 2 P.M. to 7 P.M.Free admission, subject to availability.

An afternoon event, open to all ages: discover the skills and expertise of the Ballet of Opéra-Théâtre de Metz Métropole. More than ever, the Opéra-Théâtre is reaching out to the widest possible audience. The public is invited to watch as the dancers prepare to perform: from warm-up dance classes to a rehearsal of the ballet La Dame aux camélias, with extracts from the music of Tchaikovsky, and contemporary compositions by Rouchier.

Public rehearsal with full orchestra.Jacques Offenbach’s comic opera La Vie parisienne, SAT. 14.12 | 2:00 P.M. to 4:00 P.M.Free admission, subject to availability.

The Opéra-Théâtre de Metz Métropole offers a glimpse behind the curtain! See the dancers, singers and musicians at work. A rare visit to the backstage “kitchen”, to see how each performance’s many ingredients come together to create the finished piece.

FOR OPÉRA-THÉÂTRE DE METZ MÉTROPOLE SUBSCRIPTION HOLDERS

Guided tours of the exhibition Opera as the World. The quest for a total work of art.FRI. 25.10 | 5:30 P.M. | 90’Booking details tbc.

Opéra-Théâtre de Metz Métropole subscribers can enjoy an exclusive opportunity to discover the exhibition Opera as the World, exploring the encounter between the visual arts and the world of opera from the early 20th century onwards. From Richard Wagner to the very latest productions, the exhibition takes visitors on a journey to the heart of the world of opera. With set models, costumes and scenographic elements, imposing installations and specially commissioned works, the exhibition itinerary combines sound and vision to re-examine epoch-making exchanges between art and the stage.

FOR VISITORS OF CENTRE POMPIDOU-METZ

Public rehearsal with full orchestra Rigoletto by Giuseppe Verdi TUE. 24.09 | 8 P.M. to 9:30 P.M. | 90‘ Booking details tbc, within the limit of available places.

The Opéra-Théâtre de Metz Métropole offers a glimpse behind the curtain! See the dancers, singers and musicians at work. A rare visit to the backstage “kitchen”, to see how each performance’s many ingredients come together to create the finished piece.

Voice workshopsSAT. 12.10 and SAT. 16.11 | 2:00 P.M. to 3:30 P.M. | 5€Booking details and fares tbc

Children and their accompanying adults warm up with Nathalie Marmeuse, chorus mistress at the Opéra-Théâtre de Metz Métropole, to sing popular and modern opera melodies – just like real-life trainee singers!

Combined visits to the exhibition Opera as the World and the Opéra-Théâtre de Metz MétropoleWED. 23.10 and THU. 24.10Booking details and fares tbc

- Visit to the Opéra-Théâtre de Metz Métropole at 2 P.M., followed by a tour of the exhibition at 4 P.M.

- Tour of the exhibition at 2 P.M., followed a visit to the Opéra-Théâtre de Metz Métropole at 4 P.M.

Guided tour of the Opéra-Théâtre de Metz Métropole followed by a rehearsal of Offenbach’s La Vie parisienne.TUE. 17.12 | 7 P.M. to 8 P.M. | 60’Rehearsal of La Vie parisienne from 8 P.M. to 9:30 P.M.Booking details and fares tbc, within the limit of available places.

Friends of the Centre Pompidou-Metz are invited to discover this major auditorium for opera, dance and theatre – an iconic, regional cultural venue since the 18th century. The Opéra-Théâtre de Metz Métropole is “home” to 100 permanent employees, across thirty different professions. Visitors will gain a fascinating insight into preparations for performances of opera, ballet or plays. Step through the doors of the Opéra-Théâtre de Metz Métropole for a unique experience in an exceptional setting!


31

Centre Pompidou-Metz is the first example of the decentralization of a major national cultural institution, Centre Pompidou, in partnership with regional bodies and organisations. As an autonomous institution, Centre Pompidou-Metz draws on the experience, expertise and international renown of Centre Pompidou, and shares its parent institution’s multi-disciplinary approach and core values of innovation, openness and outreach to the widest possible public.

Centre Pompidou-Metz stages temporary exhibitions based on loans from the collection of the Centre Pompidou, Musée National d’Art Moderne. With over 120,000 works, the Centre Pompidou is the custodian of the largest collection of modern and contemporary art in Europe, and the second largest worldwide.

Both institutions develop partnerships with museums around the world. Extending its programme of exhibitions, Centre Pompidou-Metz hosts dance performances, concerts, screenings and lectures.

Centre Pompidou-Metz enjoys the support of its founding patron, Wendel.

The exhibition Opera as the World. The quest for a total work of art resonates with celebrations marking the 350th anniversary of the Opéra national de Paris.

Members of the EPCC

With the financial support of the Department of Moselle

Founding patron

Exhibition patrons With the support of

With the participation of Vranken-Pommery Monopole

The exhibition Opera as the World. The quest for a total work of art has benefitted from a series of exceptional loans from the Bibliothèque Nationale de France

Media partners

Mécène fondateur

10. EXHIBITION PARTNERS

Mécène fondateur


32

OPÉRA NATIONAL DE PARIS

The exhibition Opera as the World coincides with celebrations to mark the 350th anniversary of the Opéra national de Paris.

Throughout the 2018/2019 season, up to December 31st, 2019, the Opéra national de Paris is celebrating its 350th birthday. In 1669, on the 28th of June, Louis XIV signed the letter of patent authorising his counsellor Pierre Perrin to establish a royal opera academy, under the title of the Académie Royale de Musique.

The anniversary offers a unique opportunity to pay tribute to the historic heritage of the Opéra national de Paris.

Parallel to its programme for the season, covering three-and-a-half centuries of operatic history, the Opéra national de Paris is seizing the opportunity to reach out to new audiences, at the invitation of the Collège de France and a number of regional theatres, and with a series of major exhibitions in partnership with the Musée d’Orsay, the Centre Pompidou Paris and Metz, and the Bibliothèque Nationale de France.

Projects coordinated by the Opéra and its partner institutions aim to cover important periods in the history of the Opéra de Paris, with a broad historical survey of the genre. Exhibitions, lectures, master classes and talks explore the institution’s heritage, and its plans for the future.

CONTACT

Opéra national de ParisPress Service / Media RelationsMartin CoulonPress Secretary - Lyric Productions01 40 01 19 95 [email protected]

WWW.OPERADEPARIS.FR


33

WENDEL, FOUNDING SPONSOR OF THE CENTRE POMPIDOU-METZ

Wendel has been involved with Centre Pompidou-Metz since its opening in 2010. Trough this patronage, Wendel has wanted to support an emblematic institution with a broad cultural influence.

In acknowledgement of its long-standing commitment to cultural development, Wendel was awarded the title of “Grand Sponsor of Culture” in 2012.

Wendel is one of Europe’s leading listed investment companies. It operates as a long-term investor and requires a commitment from shareholder which fosters trust, constant attention to innovation, sustainable development and promising diversification opportunities. Wendel excels in the selection of leading companies, such as those in which it currently owns a stake: Bureau Veritas, Saint-Gobain, IHS, Constantia Flexibles, Allied Universal, Cromology, Stahl or Tsebo.

Founded in 1704 in the Lorraine region, the Wendel Group expanded for 270 years in various activities, in particular in the steel industry, before becoming a long-term investor in the late 1970s.

The Group is supported by its core family shareholder group, which is composed of more than one thousand shareholders of the Wendel family, combined to form the family company Wendel-Participations, which owns 37.6% of the Wendel group’s share capital.

CONTACTS

Christine Anglade Pirzadeh + 33 (0) 1 42 85 63 24 [email protected]

Caroline Decaux + 33 (0) 1 42 85 91 27 [email protected]

G R A N D M E C E N E D E L A C U LT U R E


34

LA CAISSE D’ÉPARGNE GRAND EST EUROPEPARTNERING THE CENTRE POMPIDOU-METZ

Step with us into the enchanting world of Opera as the World.

As patron of Centre Pompidou-Metz since its creation in 2010, Caisse d’Épargne Grand Est Europe is a proud associate of the exhibition Opera as the World, as part of celebrations marking the 350th anniversary of the Opéra national de Paris.

An iconic exhibition, offering visitors an immersive, sensory experience.

Caisse d’Épargne Grand Est Europe is honoured to work with Centre Pompidou-Metz to support its ongoing programme of innovative projects, showcasing the work of this nationally and internationally renowned cultural and artistic space – projects which further enhance the cultural profile and influence of the City of Metz, the Lorraine region and France’s Région Grand-Est.

Caisse d’Épargne Grand Est Europe’s support for the exhibition Opera as the World further consolidates our commitment to partner cultural projects at the local level, and to play a role in promoting access to culture for all.

For over 200 years, the Caisses d’Épargne have been actively engaged in their regions of activity, working to preserve local heritage and promote cultural access for all, reflecting our core values of mutual and social solidarity, trust, loyalty and commitment.

In the spirit of our foundational values, Caisse d’Épargne Grand Est Europe takes concrete action to support cultural, economic, social and environmental development in our regions, in close collaboration with our partners and clients.

ABOUT CAISSE D’ÉPARGNE GRAND EST EUROPE

Bigger, stronger, closer, more innovative than ever: Caisse d’Épargne Grand Est Europe is built on the shared values that underpin our 200-year history, and our work today – proximity, service, solidarity and support for the local economy. As a mutual bank, we owe our success to our 3,000-strong staff, 436,000 members, and our 2.6 billion € equity fund. Caisse d’Épargne Grand Est Europe, headquartered in Strasbourg, is active across 10 departments in the Grand Est region, with administrative centres in Metz, Rheims and Nancy

CONTACT

Marie-Christine RouardCommunications [email protected]+33 (6).10.89.05.10


35

LA COMPAGNIE DE PHALSBOURG

Founded in 1989, La Compagnie de Phalsbourg is a leading property developer in France, focussing on two key areas: major urban development projects and the restructuring of city centres. For each new operation, La Compagnie de Phalsbourg works to develop a unique identity and create individual living spaces with a forward-looking approach in response to the constraints of each site. Architecturally and environmentally innovative, our projects model the city of the future, offering a quality environment for residents and users. As a corporate patron of culture and heritage, La Compagnie de Phalsbourg supports large-scale cultural projects in major French cities, such as the Musée des Collectionneurs in Angers or the Fabrique des Cultures, a scheme to repurpose an abandoned industrial site in La Courneuve as a cultural pole and venue. We work to promote the dissemination of culture to all, throughout our territories.

CONTACT

Mathieu BoncourHead of Institutional Relations and Sponsorship+33 (0)6 83 08 22 [email protected]


36

11. IMAGES AVAILABLE TO THE PRESS

Die Zauberflöte (La Flûte enchantée) mise en scène, décors et costumes de William Kentridge, théatre royal de la Monnaie, Bruxelles, 2005, avec Sumi Jo (la Reine de la Nuit). Photo Johan Jacobs Courtesy du photographe et de La Monnaie, Bruxelles

Ewald Dulberg, Die Zauberflöte (La Flûte enchantée), maquette de décor pour le Temple du Soleil, acte II, scène 38, 1929 Bois, bronze doré, feutre, gouache et installation électrique, 52,5 × 67,5 × 7 cm Cologne, Theaterwissenschaftliche Sammlung–Universität zu Köln © Theaterwissenschaftliche Sammlung, Cologne

Moses und Aron (Moïse et Aaron) Opéra Bastille, Paris, 2015. Photo Bernd Uhlig Courtesy du photographe et de l’Opéra national deParis © Romeo Castellucci / Photo Bernd Uhlig

L’Affaire Makropoulos mise en scène de Krzysztof Warlikowski, décors et costumes de Małgorzata Szczęśniak, Opéra Bastille, Paris, 2007, avec Angela Denoke (Emilia Marty). Photo Pascal Victor © Pascal Victor / ArtComPress. Courtesy Opéra national de Paris

Roland Topor, Le Grand Macabre acte I, scène 1, et acte II, scène 2, Paysage de Breughelland, 1978 Encre et pastel sur papier, 24 x 32 cm Bologne, Fondazione Teatro Comunale di Bologna © Adagp, Paris

William Kentridge, Preparing the Flute, 2004-2005 Animation vidéo, structure en bois, panneaux peints, 240 x 150 x 118 cm, éd. 3/3 Rome, MAXXI – Museo nazionale delle arti del XXI secolo, inv.: 10491 Courtesy Fondazione MAXXI – Museo nazionale delle arti del XXI secolo / photo Patrizia Tocci © William Kentridge, courtesy Marian Goodman Gallery

Die Zauberflöte (La Flûte enchantée) décors d’Oskar Kokoschka, Felsenreitschule, Salzbourg, 1955. Zurich, Zentralbibliothek © Zentralbibliothek Zürich © Fondation Oskar Kokoschka / ADAGP, Paris, 2019

Bill Viola, Isolde’s Ascension (The Shape of Light in the Space after Death) [L’Ascension d’Isolde (La forme de la lumière dans l’espace après la mort)], 2005 Vidéo HD sur écran plasma, couleur, sonore, 10’30’’ Turin, Fondazione per l’Arte moderna e contemporanea CRT, en prêt au Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino Photographe : Kira Perov © Bill Viola Studio LLC / photo Kira Perov © Bill Viola

Tristan und Isolde (Tristan et Isolde) mise en scène de Peter Sellars, vidéo de Bill Viola, Opéra Bastille, Paris, 2005, Photo Charles Duprat Courtesy du photographe et de l’Opéra national de Paris © Bill Viola

Vergine Keaton, « Vous qui entrez ici », 2019 Installation (polyptique), vidéo 4320 x 1920 pixels, couleur, stéréo, 7” en boucle et acier, bois, peinture, technologies matérielles et logicielles, 120 x 250 cm Création sonore : Guillaume Quéméré Lantonnet Solution technologique : Paul Lacroix Coproduction Centre Pompidou-Metz, Sacrebleu Production et Label Dalbin Avec le soutien de la Région Grand Est

Kasimir Malévitch, La Victoire sur le soleil, projet de rideau, 1932 Mine graphite sur papier, 47,5 × 32,5 cm Londres, Collection V. Tsarenkov Courtesy V. Tsarenkov

Natalia Gontcharova, Le Coq d’or, décor de l’acte III, 1914 Impression photomécanique, 15 x 21 cm / Paris, Bibliothèque nationale de France, bibliothèque-musée de l’Opéra / ESTAMPES SCENES Coq d’or (1) © Bibliothèque nationale de France, Paris © Adagp, Paris 2019


37



Nina Childress, 793 – famous contralto, 2008 Huile sur toile, 195 x 130 cm Collection Ewa Podleś et Jerzy Marchwinski. Photo Andrzej Świetlik © Adagp, Paris 2019

Aloïse Corbaz, Grande Cantatrice Lilas Goergens, 1960-1963 Craie grasse sur papier, 65 x 50 cm Lausanne, Musée cantonal des beaux-arts, prêt à long terme à la Collection de l’art brut, Lausanne, MCBA-2011-75 © Atelier de numérisation – Ville de Lausanne, Marie Humair © Association Aloïse

Ernest Klausz, La Damnation de Faust, L’Enfer (30), maquette de décor, 1933 Gouache sur papier, 29,5 × 44,5 cm Paris, Bibliothèque nationale de France, bibliothèque-musée de l’Opéra, ESQ O-1933 (DAMNATIONDEFAUST 30) © Bibliothèque nationale de France, Paris © Remy Klausz

Norma, Teatro La Fenice, Venise, 2015 Photos Michele Crosera Courtesy du photographe et du Teatro La Fenice, Venise

Daniel Cande, Saint François d’Assise, photographie de scène, mise en scène de Sandro Sequi, décors et costumes de Giuseppe Crisolini-Malatesta, palais Garnier, Paris, avec Christiane Eda-Pierre (L’Ange), 1983 Paris, Bibliothèque nationale de France, départe-ment Arts du spectacle DIA-PHO-6 (2167) / vue 73 © Bibliothèque nationale de France, Paris / photo Daniel Cande

To Be Sung, mise en scène de Pascal Dusapin Installation scénographique de James Turrell, théatre des Amandiers, Nanterre, 1994, avec Sarah Leonard, Susan Narucki et Rosemary Hardy. Photo Marthe Lemelle Courtesy de la photographe © Marthe Lemelle © James Turrell

Renzo Piano, Prometeo Musical Space, maquette de présentation, échelle 1/20, 1996 Bois et métal, 64 x 74 x 74 cm Gênes, Fondazione Renzo Piano, PRO_MD_002 RPBW - Renzo Piano Building Workshop Ph. Stefano Goldberg © Fondazione Renzo Piano

Saint François d’Assise mise en scène, scénographie, décors et costumes de Hermann Nitsch, Bayerische Staatsoper, Munich, 2011. Photo Wilfried Hösl Courtesy du photographe et Bayerische Staatsoper, Munich © Wilfried Hösl / Bayerische Staatsoper München © Adagp, Paris 2019

Parsifal Mise en scène, décors, costumes et lumières de Romeo Castellucci, théatre royal de la Monnaie, Bruxelles, 2011. Photo Bernd Uhlig Courtesy du photographe et de La Monnnaie, Bruxelles © Bernd Uhlig / théatre royal de la Monnaie, Bruxelles © Romeo Castellucci

Clément Cogitore, Les Indes galantes, 2018 Vidéo HD, couleur, sonore, 5’47’” Production 3e Scène, Opéra national de Paris et Les Films Pelléas © Adagp, Paris 2019


38

Max et Gotthold Bruckner, Parsifal, acte II, Klingsors Zaubergarten, 1882 Maquette, 74 × 92 × 130 cm Cologne, Theaterwissenschaftliche Sammlung–Universität zu Köln © Theaterwissenschaftliche Sammlung, Cologne

Derek Jarman, The Rake’s Progress, acte I, scène 2, The Punk Style, 1982 Encre de Chine et collage sur papier, 70 × 100 cm Florence, Teatro del Maggio Musicale Fiorentino-Fondazione © Derek Jarman © Maggio Musicale Fiorentino Fondazione

Arnold Schonberg, Moses und Aron, partition autographe, 17 juillet 1930 Encre sur papier à musique, 35,5 x 27 cm Vienne, Arnold Schönberg Center, MS 63 2771 Used by permission of Belmont Music Publishers, Los Angeles

Grazia Toderi, Semper eadem, 2004 Projet spécial pour le théatre La Fenice de Venise Projection vidéo en boucle, couleur, sonore, dimensions variables, Courtesy de l’artiste © Adagp, Paris, 2018

Guillermo Kuitca, The Met, 2002 Impression à jet d’encre et aquarelle sur papier, 21,5 × 28 cm Paris, Centre Pompidou, Musée national d’art moderne, AM 2012-565 Courtesy de l’artiste et Hauser & Wirth / Stefan Altenburger Photography Zurich © André Morin/Dist. RMN-GP © Guillermo Kuitca, courtesy Hauser &Wirth

Dominique Gonzalez-Foerster, Helen & Gordon, 2015 / 2016 Eisener Vorhang (projet « Rideau de fer »), Staatsoper de Vienne C-print, 12 × 14,7 m. Courtesy museum in progress, Vienne © Adagp, Paris 2019

Daniel Cande, Lulu (Teresa Stratas), photographie de scène, mise en scène de Patrice Chéreau, décors de Richard Peduzzi, palais Garnier, Paris, 1979 Paris, Bibliothèque nationale de France, département Arts du spectacle DIA-PHO-6 (2104) / vue 14 © Richard Peduzzi © Bibliothèque nationale de France, Paris / photo Daniel Cande

Oskar Kokoschka, La Flûte enchantée Dessin préparatoire pour les murs du temple, partie centrale (lune et tête de Janus), 1954-1955 Crayon de couleur sur parchemin, 60 x 90 cm / Salzbourg, Museum der Moderne, inv. : BS 15435 © Museum der Moderne Salzburg, photographer: Rainer Iglar © Fondation Oskar Kokoschka / Adagp, Paris, 2019

Eugène Frey, La Damnation de Faust, 1905 Plaque de verre peinte, 9 × 7,44 cm. Monaco, Société des Bains de mer © Société des Bains de mer, Monaco

Luigi Nono, Prometeo. Tragedia dell’ascolto Feuillet de la partition autographe, s. d. [vers 1980].Transposition graphique pour une étude de l’intensité sonore et organique (prologue). Crayon de couleur sur papier, 25,5 × 35,5 cm Venise, Archivio Luigi Nono © Fondazione Archivio Luigi Nono © Eredi Luigi Nono, per gentile concessione

CENTRE POMPIDOU-METZ1, parvis des Droits-de-l’Homme 57000 Metz+33 (0)3 87 15 39 39 [email protected] centrepompidou-metz.fr

Centre Pompidou-Metz

PompidouMetz centrepompidoumetz_

OPENING HOURSEvery day except Tuesday and 1st May01.11 > 31.03 MON. | WED. |THU. | FRI. | SAT. | SUN.: 10 A.M. – 6 P.M.01.04 > 31.10 MON. | WED. | THU.: 10 A.M. – 6 P.M. FRI. | SAT. | SUN.: 10 A.M. – 7 P.M.

HOW DO YOU GET THERE?The shortest route via the railway network

EXHIBITION PRICESIndividual fare: 7€ / 10€ / 12€ according to the number of exhibition spaces openGroup fare (starting from 20 persons): 5,50€, 8€, 10€ accor-ding to the number of exhibition spaces open

Profit from the numerous advantages of the Centre Pompidou-Metz’s partners with the following offers: C.G.O.S. ticket combined offer Centre Pompidou-Metz/SNCF TER Grand Est, combined offer voyage + entrance of the CFL (Chemins de Fer Luxembourgeois- Luxemburg Railways), Pass Lorraine, PassTime, Museums Pass Musées, City Pass.Beneficiaries of free entrance to the exhibitions are: active French teachers (on presentation of their professional card or their education pass duly filled out and currently valid) persons under the age of 26, students, unemployed persons registered in France and those drawing RSA or social benefit (on presentation of documentary proof less than six months old), artists members of the Maison des artistes, handicapped persons and one accompanying person, Holders of the Elderly persons minimum compensatory allowance, interpreter -guides and national lecturers, holders of Icom, Icomos, Aica and Paris Première cards, holders of a press card.

Les plus courts trajets via le réseau ferroviaire

Comment venir ?

Metz

Strasbourg

Bordeaux

Nantes

Rennes

Lyon

Lille

50’

4:00

2:50

4:30

4:30

4:00

Paris

85’

PRESS CONTACTS

CENTRE POMPIDOU-METZRegional press

Marion GalesPhone number: +33 (0)3 87 15 52 76

[email protected]

AGENCE CLAUDINE COLINNational and International press Pénélope PoncheletPhone number: +33 (0)1 42 72 60 [email protected]

Documents

William Kentridge / Photo Johan Jacobs de W. A. Mozart ... · mise en scène de Krzysztof Warlikowski, décors et costumes de Małgorzata Szczęśniak, Opéra Bastille, Paris, 2007,