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    Die sieben Todsünden

    Kurt Weill

    This ironic revolutionary fable, the last collaboration between Bertolt Brecht and Kurt Weill, has lost none of its bite or topicality.

    Marina Viotti
    Marina Viotti © David Ruanoquer
    Judith Chemla
    Judith Chemla © Olivier Allard
    Marc-Leroy Calatayud
    Marc-Leroy Calatayud - Droits réservés

    Marina Viotti | Anna I
    Judith Chemla | Anna II and narrator
    Yoann Le Lan | A brother
    Alban Legos | The father
    Victor Sicard | Another brother 
    Jérôme Varnier | The mother

    Marc Leroy-Calatayud | artistic conception and direction
    Laurent Delvert | artistic collaboration

    l’Orchestre de Chambre de Genève

    Première partie  Anna
    Kurt Weill Youkali  [Judith Chemla]
    Charles Ives  Hymn for strings
    Aslı Erdoğan Requiem pour une ville perdue  [extrait lu par Judith Chemla]
    Aaron Copland Zion’s walls  [Marina Viotti]
    Aslı Erdoğan Requiem pour une ville perdue  [extrait lu par Judith Chemla]
    Aaron Copland  Music for movies : V. Threshing machines
    Aslı Erdoğan Le Mandarin Miraculeux  [extrait lu par Judith Chemla et Marina Viotti] 
    Kurt Weill Je ne t’aime pas  [Judith Chemla]
    Charles Ives Three Places in New England : II. Putnam’s Camp near Redding, Connecticut
    Joseph Edgar Howard / Ida Emerson Hello my baby
    Aslı Erdoğan Le Silence même n’est plus à toi [extrait lu par Judith Chemla]
    Aaron Copland Simple gifts  [Marina Viotti]
    Kurt Weill Nannas Lied  [Judith Chemla]
    Aslı Erdoğan Le Silence même n’est plus à toi  [extrait lu par Judith Chemla]
    Deuxième partie
    Kurt Weill Die Sieben Todsünden Les Sept péchés capitaux
    1. Prolog (Prologue)  - 2. Faulheit (La paresse ) - 3. Stolz (L’orgueil ) - 4. Zorn (La colère) - 5. Völlerei (La gourmandise) - 6. Unzucht (La luxure) - 7. Habsucht (L’avarice) - 8. Neid (L’envie) - 9. Epilog (Epilogue)

    After being banned from involvement in any form of musical activity under the Nazi regime, Kurt Weill moved to Paris in 1933. Shortly after his arrival, Boris Kochno, co-director of the Ballets 33 company alongside a young Balanchine, commissioned a ballet from him. Weill initially considered working with Cocteau, but eventually joined forces with Bertolt Brecht, with whom he had fallen out several years previously, on what would be their last collaboration. An unflinching indictment of a society in decline, this work is divided into seven sequences featuring a waltz, foxtrot, march, tarantella and a male vocal quartet. This parable of social dualism (authoritarianism versus anarchy) is embodied by the female character, Anna I, and her dancing doppelganger Anna II. In a combination of part-spoken and part-sung banter, and choral song in the pure Lutheran tradition, Kurt Weill explores the full spectrum of a musical piece which is riddled with instability to echo the society he is depicting.

    Coproduction Théâtre des Champs-Elysées | L’Orchestre de Chambre de Genève

    L’ultime collaboration entre Kurt Weill et Bertolt Brecht ... au Théâtre des Champs-Elysées

    La collaboration entre le compositeur Kurt Weill et le dramaturge Bertolt Brecht dura tout juste six ans (1927-1933) mais fut l’une des plus fécondes dans l’histoire du théâtre musical au XXe siècle.