Christoph Marthaler

Letzte Tage. Ein Vorabend (Derniers Jours. Une veillée)

Archive 2013

Letzte Tage. Ein Vorabend (Derniers Jours. Une veillée)
Director and Music Director, Christoph Marthaler
Music Director, Uli Fussenegger
Space Design, Duri Bischoff
Costumes, Sarah Schittek
Light Design, Phoenix (Andreas Hofer)
Assistant Director, Gerhard Alt
Dramaturgy, Stefanie Carp
With Tora Augestad, Carina Braunschmidt, Bendix Dethleffsen, Silvia Fenz, Ueli Jäggi, Katja Kolm, Josef Ostendorf, Clemens Sienknecht, Bettina Stucky, Michael von der Heide, Thomas Wodianka
Musicians, Uli Fussenegger (contrebass), Hsin-Huei Huang (piano, reed organ), Michele Marelli (clarinet, basset horn), Julia Purgina (viola), Sophie Schafleitner (violin), Martin Veszelovicz (accordion)
Music, Pavel Haas, Ernest Bloch, Rudolf Karel, Józef Koffler, Pjotr Leschenko, Emil František Burian, Charles Loubé/Erich Meder, Erwin Schulhoff, Alexandre Tansman, Viktor Ullmann, Bernhard Lang, Erich Wolfgang Korngold, Uli Fussenegger and others

Production Wiener Festwochen // Coproduction Staatsoper Unter den Linden (Berlin) ; Théâtre de la Ville-Paris ; Festival d’Automne à Paris // Corealisation Théâtre de la Ville-Paris ; Festival d’Automne à Paris // With the support of Ernst von Siemens Musikstiftung // Premiered the 17 of May 2013 at Wiener Festwochen
Partnership with France Inter

A century ago, Europe stood on the verge of the First World War. How has Europe faired since? Letzte Tage. Ein Vorabend, involving singers, actors and musicians, explores the roots of the tragedies of the XXth century. Letzte Tage is played to music composed by exiled or deported Jews. As racism and nationalism re-emerge in Europe, Christoph Marthaler questions the cyclical nature of history.

In the same place

Théâtre de la Ville – Sarah Bernhardt
septembersept 13 - 22

Anne Teresa De Keersmaeker, Radouan Mriziga / Rosas, A7LA5
Il Cimento dell’Armonia e dell’Inventione

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In collaboration with the choreographer and dancer Radouan Mriziga, the challenge taken up by Anne Teresa De Keersmaeker is to make Vivaldi's Four Seasons heard, using the tools of dance to hone the way we listen to this baroque masterpiece. Under the auspices of abstraction, the resulting alliance reconnects with the imaginary ecological world that is conjured up by this famous concerto.

Théâtre de la Ville – Sarah Bernhardt
septembersept 23 - 28

Rabih Mroué
Who’s Afraid of Representation?

Theatre Portrait
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We find ourselves in the company of major figures of European Body Art (Joseph Beuys, Orlan, Marina Abramović, to name a few) via their accounts of exhibitions and public scarifications dating back to the 1970s. In parallel with this runs the true story of a killing spree carried out by a Lebanese office at his workplace, and the fluctuating motivations for his acts.

Théâtre de la Ville – Sarah Bernhardt
octoberoct 3 - 5
Maison des Arts de Créteil
novembernov 6 - 7

Lola Arias
Los días afuera

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At the crossroads between musical and documentary, Lola Arias brings us a choral composition in which six female former inmates talk about their lives during and after incarceration. Their six intertwining destinies raise questions about the various forms of violence present in contemporary society, whilst exploring the margins of fiction and reality at the same time.

Théâtre de la Ville – Sarah Bernhardt
novembernov 5 - 16

Robert Wilson
PESSOA – Since I've been me

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The hero of this new work by Robert Wilson is Fernando Pessoa. And a paradoxical hero at that. The Portuguese poet spent his life 'multiplying himself', inventing heteronyms, or fictitious authors, to whom he attributed works he himself wrote. He even went as far as to invent relationships, either amicable ones or from master to disciple, between his different avatars.

Théâtre de la Ville – Sarah Bernhardt
novembernov 19 - 23

Jan Martens

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In this breakthrough piece for Jan Martens, VOICE NOISE brings together six dancers to shape a soundscape comprising some of the great female performers and composers of our time. In his own pop-inspired and precise way, the choreographer questions a very contemporary story, and in doing so raises the question of how some of these voices were silenced.