LISTENING TO THE SILVER SCREEN

Bordeaux Moments - - Scènes - Ci­né-notes Fes­ti­val 7th-18th March 2018 Au­di­to­rium de Bor­deaux ope­ra-bor­deaux.com

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.

Newspapers in French

Newspapers from France

© PressReader. All rights reserved.