On the plateau a team a real welded seamless

The essence of an artist, it is to be always there where would not expected it. Debussy, Puccini, unlike Wagner, were successful in Robert Wilson. Once past the surprise to see tackle Kurt Weill and Bertolt Brecht via "The Threepenny Opera ' under ', can inspire ' bow before a production its venue, the Festival of autumn, the Berliner, guarantor of a Brechtian tradition, without the least of the world permit him choking or the Ms.

Show breathtaking one and first hyperprofessionnel work, set at millimetre closely. Some, and not least, to have broken teeth on a book which, over eighty years after its creation, has not lost its subversive power and makes a mockery of the values established, ending with a reversal which the artifice is emphasized, which calls into question the credibility of the Masterpiece Theatre.

Between the spoken text and the song (the "songs", located in a no man's land between the lyrical air and song), between the word and image, Wilson is following her path, playing time and his delays, on gestures, sounds, creators of illusions personnages, colors, lights, intemperate makeup. Vision virtuoso of plastic surgeon, to midway between the Gallery of modern art and cabaret, but manages to make these ridiculous clowns who, in other hands, were merely insignificant puppet human. The famous "distancing" by Brecht is, here, to climax; laughter is ambiguous, the emotion by sarcasm.

A tough work, it is questioned, for interpreters, supported by a handful of instrumentalists conducted by Hans - Jörn Brandenburg, which gives the partition his stature and in fact highlighted the sharp edges. On the plateau, a team, a real, welded, seamless. Of the voices of actors, tough patch, sometimes, not always very fair (and with) but perfectly know what means to sing. Epatants, Veit Schubert (Peachum), Traute Hoess (his wife), Axel Werner (Tiger Brown), who resembles Nosferatu, Anna Graenzer (Lucy), Angela Winkler (Jenny). And what about Christina Drechsler (Polly) delicious and spicy Baby Doll, and Stefan Kurt, Macheath troubling, almost androgynous.

Tonic sins

It is also with Kurt Weill and Bertolt Brecht that the theatre des Champs-Elysées opened its 2009-2010 season. The duo of shock is here represented by "Les Sept Péchés capitaux", unusual "ballet sung in a prologue and seven paintings" created in this same Hall in 1933, that precedes "Mahagonny Songspiel", Cantata scenic 1927, subsequently developed in three acts to become "Rise and fall of the city of Mahagonny" (1930). In the imaginary city of Mahagonny, in the America of Anna and her sister, money is the master, with its attendant corruption, illusions, false hopes.

Very sophisticated, minimalist décor of Nelson Wilmotte, remarkably enlightened by Dominique Bruguière, and dressed by Macha Makeïeff bright colours reminiscent of the universe of the circus or cabaret, entertainment, directed by Juliette Deschamps, interpreted in his own way Brechtian distancing. Very good chic, good kind, but effective, even if the causticité of the words is somewhat softened. Impeccable rhythmic base, plunging sounds: in this directory, the entire Modern is unbeatable. At the console, Jérémie Rhorer. His meteoric rise over the past three years, showed near-perfect adaptation of this set confirmed in different styles. His Weill a tone of aggressiveness, the spring; It never loses its elegance. Expert in the art of the melody and fortuneteller who knows make alluring words, Angelika Kirchschlager (Jessie/Anna I) leads the game with a round and sensual voice, surrounded by Catherine Hunold (Bessie), and a hilarious male Quartet (Simeon Esper, Yves Saelens, Holger Falk and Graeme Broadbent).