THE MUCH ANTICIPATED ARE­NA...

A concert and spor­ting ve­nue that is wor­thy of events of in­ter­na­tio­nal im­por­tance: the Are­na Bor­deaux Mé­tro­pole- de­si­gned by Ru­dy Ric­ciot­ti- of­fi­cial­ly opens its doors in ear­ly 2018.

Bordeaux Moments - - Événement / Event - www.ope­ra-bor­deaux.com

It has been ma­ny years in the wai­ting, per­haps even since 1981, when its pre­de­ces­sor ope­ned: the fu­tu­ris­tic Mé­ria­deck ice-ska­ting rink, which has a re­pu­ta­tion for dif­fi­cult acous­tics. With twen­ty pos­sible layouts that can hold so­mew­here bet­ween 2500 and 11,300 people, the Are­na Bor­deaux Mé­tro­pole is de­si­gned to of­fer the best condi­tions for events and pro­duc­tions that bring in large crowds. Its ou­ter shell of white concrete al­so de­notes the de­ploy­ment of the ‘Eur­at­lan­tique’ re­de­ve­lop­ment pro­ject which in­cludes Bor­deaux’s right bank; its pebble-like curves give it a de­li­cate look in the day­time, while at night it shines out, with its bay win­dows ligh­ting up to look like sound le­vels on a mixing desk. Ru­dy Ric­ciot­ti- a ma­jor French ar­chi­tect and en­gi­neer- is the crea­tor, and here he achieves a dream­like func­tio­na­lism. The list of the first acts per­for­ming, both pres­ti­gious and eclec­tic, is equal­ly drea­my, put to­ge­ther by La­gar­dère Un­li­mi­ted Live En­ter­tain­ment, who al­so ma­nage the equip­ment. By way of proof, De­peche Mode will be the ve­nue’s ope­ning act on 24th Ja­nua­ry, before lea­ving the stage to Charles Az­na­vour three days la­ter. Af­ter­wards, Vi­ta­lic, Fe­der and Pe­tit Bis­cuit will be per­for­ming for a ce­le­bra­tion of elec­tro.

Jé­rôme Lan­glet is the di­rec­tor of La­gar­dère Un­li­mi­ted Live En­ter­tain­ment (LULE). He will al­so run the Are­na in Bor­deaux, thus mar­king the im­por­tance of this ve­nue for the La­gar­dère group.

Where did the idea for the Are­na Bor­deaux Mé­tro­pole come from?

We al­rea­dy ope­rate se­ve­ral ve­nues (1), but for us this was our first time as a contrac­ting au­tho­ri­ty. The pro­ject has been car­ried out in a har­mo­nious re­la­tion­ship with all par­ties, de­li­ve­red while strict­ly res­pec­ting dead­lines and bud­gets. It was al­so a real plea­sure to work with Ru­dy Ric­ciot­ti. There were no conces­sions in ob­tai­ning the best in terms of the wel­come and com­fort of the au­dience, and he lis­te­ned to our ope­ra­ting concerns. We will see now if the Are­na’s dai­ly ac­ti­vi­ty will jus­ti­fy our choices. But I’m not wor­ried. The trials have shown the ve­nue to have high qua­li­ty acous­tics.

LULE al­so pro­duces shows, are they gi­ven prio­ri­ty?

They’re two dif­ferent jobs, with the suc­cess of an ar­tis­tic pro­ject on one side, and the ma­na­ge­ment of a ve­nue on the other. We take the ar­tist in­to ac­count and what sort of en­vi­ron­ment suits them. We are hap­py to work with other pro­du­cers, hos­ting tours for their ar­tists and we work with com­pa­nies which, like us,

pro­duce shows and ma­nage equip­ment.

How do you go about boo­king acts?

For ve­nues of this size, we don’t look for a par­ti­cu­lar ar­tis­tic di­men­sion; that is de­ter­mi­ned by the na­tio­nal and in­ter­na­tio­nal tour ca­len­dar. But, in the end, eclec­ti­cism is the key word, we want so­me­thing for eve­ry au­dience: Mu­si­cal co­me­dies, po­pu­lar mu­sic, cur­rent mu­sic, the cir­cus, one man shows, bal­lets, etc. At the heart of our boo­kings, there are al­so spor­ting and “cor­po­rate” events, and po­ten­tial re­gio­nal events. For example, we are wor­king with the Bor­deaux SMAC (2) on a sha­red pro­duc­tion. In

to­tal, at the ve­ry least we book over a hun­dred dates per year. Bor­deaux Mé­tro­pole Are­na Ave­nue Jean Al­fon­séa in Floi­rac www.bor­deaux­me­tro­po­lea­re­na.com

1- Fo­lies Ber­gères, Ca­si­no de Pa­ris, Zé­nith de Pa­ris, Ba­ta­clan, Are­na du Pays d’aix 2- Scène de Mu­siques Ac­tuelles, la­bel awar­ded by the Mi­nis­try of Culture to ve­nues that pro­mote cur­rent mu­sic. In Bor­deaux the SMAC in­cludes Rock et chan­son, Kra­ka­toa, Ro­cher de Pal­mer and Rock School Bar­bey.

Créa­tion mon­diale. L’or­chestre na­tio­nal Bor­deaux Aqui­taine et le choeur de l’opé­ra na­tio­nal de Bor­deaux in­ter­prètent en di­rect la plus im­por­tante par­ti­tion sym­pho­nique de Phi­lippe Sarde. Jeu. 15/03 à 20h, Ven. 16/03 à 19h, Dim 18/03 à 15h.

Concert jazz sym­pho­nique

Ex­traits et suites in­édites des mu­siques si­gnées P. Sarde des films Tess, Le Lo­ca­taire, Pi­rates, Le Train, L’ours, Mort d’un pour­ri, Les Choses de la vie, Des En­fants gâ­tés, Flic ou voyou, Stel­la, Ha­rem, la Grande bouffe, Vincent, Fran­çois, Paul et les autres... Or­chestre na­tio­nal Bor­deaux Aqui­taine, Sté­phane Bel­mon­do et Jean-marc Mon­taut quar­tet. Mer 7/03 et Jeu. 8/03, 20h

Pro­jec­tions et mas­ter­class

Mas­ter­class de Phi­lippe Sarde Ven. 9/03 à 19h, pro­jec­tions Le juge et l’as­sas­sin de Ber­trand Ta­ver­nier (Sam. 10/03 à 15h) et Le lo­ca­taire de Ro­man Po­lans­ki (Sam. 10/03 à 20h).

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