On some evenings, the Opéra Comique converts into a music club, offering a lyrical and intimist early evening opportunity for an aperitif. Let yourself be transported by the quirky and joyous singers while enjoying a glass of champagne. In the cosy Salle Bizet, the singers of the Nouvelle Troupe Favart are given carte blanche to revive their lyrical repertoire and celebrate songs while sharing a moment of freedom and complicity with the audience. Come and join us, 8 rue Marivaux, to share an off-beat and
playful drink!
Evenings held in partnership with Champagne Delamotte
La Mécanique des sentiments
La Musique is the shorthand of emotion. - Tolstoï
In music the passions enjoy themselves - Nietzsche
“We go to the theatre to allow ourselves to feel the strong emotions we struggle with on a daily basis, to experience this strange pleasure of comfortably empathising with the characters’ joys, sorrows and follies.
In real life, we are often dominated by feelings such as jealousy, shame, fear, joy and love, which can be sources of motivation but can also constitute burdens. As the emotion grows stronger and dominates us, our body language changes to adopt the matching behaviour in terms of movement, breathing and attitude.
Sometimes, we are overwhelmed with this emotion and we feel the need to produce works of art in time and space- poems, paintings, dances and music tunes sublimate our emotions and offer an opportunity to both the author and audience to explore the passions of the human soul from another angle.
Music, in particular, inextricably accompanies our emotional life- By essence it echoes the passions of the human soul better than words ever could.”
My melancholy wants to rest in the hiding places and abysses of perfection: that is why I need music. - Nietzsche
"La Mécanique des sentiments plays with the art of emotions, illustrating the sentimental enlightenment of lyrical art. Accompanied by two musicians and two singers, a story teller guides us through this scenery of emotions, showing us how various feelings can shape body and space to become music.
How does one make the audience cry? Can diagonal lighting have an impact on the performance’s dramatic intensity? Why do some chords make us feel happy, uneasy or melancholic?
From Offenbach to Debussy and from Schuberthubert to Poulenc, via Rameau and Chausson, we draw on a wide spectrum to casually explore the dramatic dimensions of our emotions. By recalling their names, by experiencing them and performing them, we try to get a better grasp, to regain control and distance ourselves…”
Jos Houben • Emily Wilson
Salle Bizet
25€, consommation incluse
Programme de la soirée
« Quel bruit! Quels vents ! », Hippolyte et Aricie – J.-P. Rameau
« Berceuse », Six romances, op. 16 - P. I. Tchaïkovsky
« Des Baches Wiegenlied », Die Schöne Müllerin – F. Schubert
“Canción de cuna para dormir », Cinco Canciones Negras – X. Montsalvatge
« Schmetterling », Liederalbum für die Jugend, op. 79– R. Schumann
« Être ou ne pas être », Hamlet – A. Thomas
Solace – S. Joplin
Wochenend und Sonnenschein/Happy days are here again – M. Ager, Comedian Harmonists
Temptation – N. H. Brown, A. Freed
« Ah, scostati…/Smanie implacabili », Così fan tutte – W. A. Mozart
« Ne mettez pas ainsi votre main à la gorge », Pelléas et Mélisande – C. Debussy
« Amour sacré de la patrie », La Muette de Portici – D.-F.-E. Auber
Ah ! ça ira - Ladré
« Belle nuit, ô nuit d’amour », Les Contes d’Hoffmann – J. Offenbach
Canción pour piano n°6 – F. Mompou
« Ein Mädchen oder Weibchen », Die Zauberflöte – W. A. Mozart
« Colloque sentimental », Les Fêtes galantes – C. Debussy
« Nun will die Sonn’ so hell aufgeh’n », Kindertotenlieder – G. Mahler
Libera me, Requiem – G. Fauré
« Dein will gescheh » (choral), Passion selon Saint Jean – J.-S. Bach
