LISTENING TO THE SILVER SCREEN
The Opéra de Bordeaux invites you to its new festival. Having been designated a regional branch of the national opera in 2001, the ballet, choir and orchestra of the Opéra de Bordeaux has been searching for ways to increase their repertoire and audience, notably with their contemporary creations. Musically, they kicked off with the opening of the auditorium on Cours Clemenceau in 2013. This has led to performances by artists at the confluence of genres such as Abd al Malik, Chilly Gonzales or, most recently, the pioneer of techno Jeff Mills with the jazz player Émile Parisien. In light of the success of these events, most of which sold out months in advance, the venue has become a touchstone for eclecticism and discovery. From these characteristics came the idea to develop a repertoire that the Orchestre National de Bordeaux-aquitaine had rarely worked on: film music. This year, we can look forward to a new and ambitious annual event, the Ciné-notes festival.
Sarde, Musical Scriptwriter
Benoît Daldin is an artistic administrator, the event's initiator, and also theinstitution's musical coprogrammer alongside the orchestra conductor Mark Minkowski, the Opéra’s managing director and Paul Daniel, the orchestra’s musical director.
Where did the idea for Ciné-notes come from?
We’ve been organising cinema concerts for a long time, but we were looking for a less common form that crosses music with cinema. The prelude was Jean-jacques Annaud’s film, La guerre du feu. From tribal to lyrical, the musical score is extraordinary; it is a world in itself which supports the film’s story throughout, with no dialogue. Meeting its creator, Philippe Sarde, served to take our ambition further, and the event envisaged around just one work became an annual festival dedicated to composers for the silver screen.
What is P. Sarde known for?
He's a major composer that isn't particularly well-known, despite the wealth of his repertoire. He has mostly remained loyal to cinema, and counts a few of the great French directors among his friends: Claude Sautet, Pierre Granier-deferre, Georges Lautner, Bertrand Tavernier, Jacques Doillon, André Téchiné, etc. Although he was nominated at the Oscars for his score for the Roman Polanski film Tess, his music has never really left the big screen. This is what we want to remedy.