La Folle journée ou Le Mariage de Figaro

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Transcription de la présentation:

La Folle journée ou Le Mariage de Figaro

Mise en scène de Jean-Pierre Vincent, 1987, Odéon Théâtre de l’Europe, scénographie J.-P. Chambas

Mise en scène d’Antoine Vitez, 1989, comédie française,scénographie de Yannis Kokkos

https://www.youtube.com/watch?v=mkU3DCw9Yq8

Mise en scène Jean-François Sivadier, TNB, 2000.

La Fête à Saint-Cloud, Fragonard

Ridicule, film de Patrice Leconte, 1996 https://www.youtube.com/watch?v=phZP3FJBFuY

Mise en scène Christophe Rauck, 2007, Comédie française

https://www.youtube.com/watch?v=ymPmnLk2wMs

Mise en scène Rémy Barché, 2015, Comédie de Reims

https://www.youtube.com/watch?v=0BCO1BfZB5I

FIGARO DIVORCE

Rencontre Rauck/Lassalle/Vincent autour de Figaro http://www.theatre-video.net/video/Figaro-divorce-rencontre-avec-J-Lasalle-J-P-Vincent-et-C-Rauck

Figaro divorce, mise en scène Jacques Lassalle, 2008, Comédie française

Dix minutes du Figaro Divorce de C. Rauck https://www. youtube

Figaro à l’opéra

Un exemple de pizzicato dans Il Barbiere di Siviglia de Barbier de Rossini https://www.youtube.com/watch?v=ix7C7ZYpO4g

Il Barbiere di Siviglia de Rossini dans la mise en scène de Dario Fo, opéra d’Amsterdam, 1991 https://www.youtube.com/watch?v=eyhuIC1sxJY Tesaer https://www.youtube.com/watch?v=_UsqQtUOe78 Et , pour le plaisir, pour le travail de grommelot de Dario Fo… https://www.youtube.com/watch?v=8A4n9Ez9O8g https://www.youtube.com/watch?v=ySAb8MTtLKw

Quelques images de la mise en scène du Barbier de Rossini par Sivadier https://www.youtube.com/watch?v=4x2xVWTy8a8

Le Nozze, reprise de la mise en scène de 1973 de Giorgio Strehler https://www.youtube.com/watch?v=_OYtlGpApc0

Figaro gets a divorce, Elena Langer, Cardiff, 2016 https://www.youtube.com/watch?v=CMJkzVPq2iI Une critique ( extrait) At first, I feared the whole enterprise would be merely whimsical, and perhaps there are too many twists to the picaresque plot before it reaches its melancholy conclusion. But the angst of dislocation and dispossession becomes a uniting theme, charged with contemporary resonance, and this soon becomes that rare thing: a modern opera that exerts an immediate emotional impact. An upcoming young Russian composer based in Britain with several theatre-based works to her credit, Elena Langer must of course take much of the credit: her music is lush and inventive, patently influenced by Berg’s Wozzeck without being fearsomely atonal. The vocal lines are gratifyingly expressive, the orchestration colourful – sometimes excessively so, in its hectic urge to illustrate and emote. But that is a fault on the right side, because it radiates warmth and allows personality to shine through. The telegraph, février 2016