by Ilaria Sismondini and Sole Ferrero
MONACO MONTECARLO. From March 15 to April 14 2019, Monaco hosts the annual Printemps des Arts Festival under the patronage of HRH Princess Caroline of Hanover. An art festival has been held in the Principality every year for over 40 years with the tradition dating back to the days of the Festival International des Arts, created by Princess Grace in the 1970s, and which was held from December to March each year. In 1981 Princess Grace decided to modernize the traditional arts festival, naming it Le Printemps des Arts. Following her death in 1982, Prince Rainier named Princess Caroline as Festival President and asked her to create the new Printemps des Arts which was inaugurated in 1984. Montecarlotimes is pleased to be one of the most loyal sponsors of this artistic and cultural adventure. Every year, Printemps des Arts Monte-Carlo festival becomes the basis of extraordinary artistic performances, the source of the success of the festival and of culture. Every year, the audience discovers talented artists in extraordinary environments. Every year the Salle Empire of the Hôtel de Paris Monte-Carlo, the Salle Garnier-Opéra de Monte-Carlo, the Oceanographic Museum, the Academy of Music Rainier III, the Grimaldi Forum, the Saint Charles Church, the Teatro Principessa Grace welcome the greatest artists and are the backdrop to exceptional performances, always preceded by interesting metings. INFO MEETINGS*: We recommend to book your seats Tel + 377 97 98 32 90 because often the number of seats is limited, especially when the meetings are free. Access is open on presentation of the concert ticket or at €10. The meetings begin on time, audience delay is unacceptable. Internet surfers can book online their places for the concerts.
Week 1 from 15 to 17/03/2019 begins beautifully with the integral of Beethoven’s piano concertos in two evenings, 15 and 16 March!
Friday, March 15 at 8:30pm – Auditorium Rainier III, BEETHOVEN CONCERTOS FOR PIANO No. 2, Op. 19, No. 3, Op. 37 and No. 4, Op. 58, in which the immense Ludwig van Beethoven explores the bonds that can exist between a soloist and a romantic orchestra. The two Beethoven concertos performed by the orchestra Sinfonia Varsovia are led by the pianist-conductor François-Frédéric Guy. The concert also features 6 pieces for 2 percussionists entitled Rat… by Mauricio Kagel, with Jean-Baptiste Blackwell and Adelaide Ferrière on percussion. At 6:30pm The concert is preceded by a meeting * with Corinne Schneider, musicologist: “What pianist was Beethoven?” At the end of the meeting a cocktail is offered.
Saturday, March 16 at 11:30am Café de la Rotonde-Opéra Garnier, you can still listen to François-Frédéric Guy, a meeting * hosted by David Christoffel, musicologist, who will animate the exchanges.
Saturday, March 16 at 8:30pm – Auditorium Rainier III- BEETHOVEN CONCERTS FOR PIANO – Mauricio Kagel/Con voce for 3 silent performers and instruments ad libitum-Maroussia Gentet piano, Jean-Etienne Scullion accordion, Jean-Baptiste Blackwell and Adelaide Ferrière, percussions. It follows Ludwig van Beethoven piano Concerto No. 1, Op. 15, still classic, and No. 5, Op. 73, insuperable masterpiece transcending the genre. Orchestra Sinfonia Varsovia, François Frédéric Guy, conductor and piano. These works, which the composer himself performed in public at the piano, are full of effects. Like an Alpha and an Omega, the first and the last are contemporaries of the Fifth Symphony. As the “Emperor”concert is rarely conducted from the piano, the proof is that François-Frédéric Guy has become a complete conductor. The concert is preceded by a meeting * at 6:30pm in the Auditorium Rainier III “directing from the Piano” by Christian Merlin, musicologist. At the end of the meeting a cocktail will be offered.
Sunday 17 March at 6.00pm –Salle Empire-Hôtel de Paris – FIRST ROUND OF BEETHOVEN’S QUARTETS – n ° 10 in E-flat major, Op. 74 “Les Harpes”, No. 6 in B-flat major, Op. 18 and No. 8 in E minor and Op. 59 N. 2. Intervalle per suite (from Capriccio) by Jeremy Gill. Parker Quartet: Daniel Chong violin, Ken Hamao violin, Jessica Bodner alto and Kee-Hyun Kim cello. Today, the Parker Quartet is the fine flower of the young generation of string quartets in the United States. Their career has been dazzling: once the biggest competitions have been won, they have staged the international scene with astonishing maturity. Beethoven is part of their reference repertoire full of depth and modernity, without unnecessary effects, but with an astonishing sound impulse. The concert is preceded by a meeting * at 4:30pm “Beethoven, heir or re-inventor of the quartet?” with Hélène Cao, musicologist.
The Week 2 from 21 to 24/03/2019 is certainly not less rich!
Thursday 21 March at 8:30pm – Salle Empire-Hôtel de Paris – FIRST ROUND OF CD IN CONCERT – CD DEBUSSY: Prelude within the framework of the resident master Alexandros Markeas (in the presence of the composer): Nuit froide et claire and Fuoco are interpreted by Noria Lacasagne, piano ( Student at the Conservatory of Music of Grasse) and Antoine Cesari, piano (Student at the regional radiation Conservatoire of Nice). CD Debussy: Marie Vermeulin, piano. A piano revelation in recent years, Marie Vermeulin has a great palette of colors that she associates with poetry. That’s why Debussy is one of her best interpretations. Her piano technique fascinates, takes, draws a world of “special sounds”, as the composer said. From the most technical (Etudes, 1915), to the most poetic (Estampes, 1903), passing through a tribute to the Old Masters (Pour le Piano, 1901), the program of this recital offers the opportunity to appreciate all its expressive palette. Sale of CDs and signing at the end of the concert with the support of Yamaha Music Europe.
Friday, March 22 at 8:30pm – Salle Empire-Hôtel de Paris-SECOND ROUND OF BEETHOVEN’S QUARTETS – Alexandros Markeas: Die neuen Ruinian von Athen-World Premiere-commissioned by the Festival – Ludwig van Beethoven: String Quartet No. 14 In C minor, Op. 131- Quatuor Diotima: Yun-Peng Zhao violin, Constance Ronzatti violin, Franck Chevalier alto and Pierre Morlet cello. Convincing in contemporary repertoire as in romantic music, the Diotima Quartet has in fact imposed a new form of virtuosity, which could be described as “stylistic” as they are at ease from one repertoire to another. In his music, the Franco-Greek composer Alexandros Markeas is interested in noise, electronics, repetition and above all he breaks the boundaries that disappear between genres. Compared to this world première, the music of Beethoven continues to fascinate with its innovative and always modern power, while 200 years separates these two composers! The concert is preceded by a meeting * at 6:30 pm-Hôtel de Paris-“The Last quartets of Beethoven” by Marc Dumont, music historian.
Saturday, March 23 at 11.30 am – Café de la Rotonde, Opéra Garnier-Philippe Bianconi, piano: meeting * with David Christoffel, musicologist who will animate the exchanges.
Saturday, March 23 at 8:30pm – Auditorium Rainier III – FIRST ROUND OF THE BRAHMS CONCERTS – Mauricio Kagel: Tango Alemán-Marie bester soprano, Constance Ronzatti violin, Jean-Etienne scullion accordion and Maroussia Gentet piano. Felix Mendelssohn: Athalie, Op. 74 (Overture) – Johannes Brahms: Piano Concerto No. 1 in D minor, Op. cit. 15 – Felix Mendelssohn: Ruy Blas, Op. CIT. 95 (Overture) – Johannes Brahms: Piano Concerto No. 2 in B-flat Major, Op. 83- Monte-Carlo Philharmonic Orchestra – Michal Nesterowicz, conductor and Philippe Bianconi, piano. Few pianists can play the two Brahms concerts in the same evening. Beyond the required virtuosity, the “tour de force” consists in preserving the spirit of chamber music that permeates these two works both monumental and intimate. Philippe Bianconi is a pianist-poet: with independence and freedom, he makes his way into the world of music, concentrating always on the sheer beauty of sound and a true inner and romantic spirit. Few musicians try so hard to talk to the soul! The concert is preceded by a meeting * at 6:30pm: “Brahms and his soloists” by David Christoffel, musicologist. Cocktail offered at the end of the meeting.
Sunday 24th March – SURPRISE TRIP! At 1:30pm from Monaco (Stade Louis II on the Riviera Marriott Hotel) and at 2pm from Nice (lycée Masséna). For a day, embark on a specially rented bus and come to discover an unusual place turned for the occasion in concert venue! The music program is kept secret, until the time of your arrival… Only the artists know it, they have invented a surprising assemblage of music. Because it is a surprise, everything is allowed! Including the most extravagant music… The success of this day has never been denied, from one year to the next.
Week 3 from 27 to 31/03/2019 begins with the first MASTER-CLASS, an initiative of thePrintemps des Arts Festival that enhances the artists’virtuosity.
Wednesday 27 March from 2to 5 pm – Academy of Music Rainier III, MASTER CLASS-CAMERON CROZMAN, CELLO. Entry within the limits of the available seats.
Thursday, March 28 at 8:30 pm –Lycée Hôtelier – SECOND ROUND OF CD IN CONCERT – CD BRITTEN – Prelude, part of the resident master Alexandros Markeas – Dance Triste for flute ensemble, cello, double bass and percussion-(students of the Conservatory of Music and dramatic arts of Antibes-Juan-les-Pins) Benjamin Britten/Cello Suite No. 1 op. 72, Cello Suite for cello N ° 2 op. 80 and Cello Suite N ° 3 op. 87: Cameron Crozman, cello
(N.B. change of program-the concert of Liana Gourdjia and Matan Porat is postponed at a later date) Cameron Crozman will present the novelties signed by Printemps des Arts, the cello Suites by Benjamin Britten. At twenty-three years of age , the Canadian cellist Cameron Crozman chose Benjamin Britten’s Suites to record his first solo album. Ample and expressive, the sound is characterized by a rigorous technique at the same time, a very personal reading of the repertoire. Adventurous, he is passionate about the music of our time and works with contemporary composers. The interpretation that Crozman makes of the three solo cello suites of the British composer recalls Bach’s masterpieces for his instrument, and at the same time the different sources of inspiration that have nourished these three pieces, from Mstislav’s Rostropovich drama, to the sarcastic gestures of Dmitri Shostakovich, through references to traditional music from different countries in Europe and Asia. Sale of CDs and signing at the end of the concert.
Friday 29th March at 8:30pm – Oceanographic Museum – Free shuttles -– THIRD ROUND OF BEETHOVEN’S QUARTETS – Matthijs van Dijk/(rage) Rage against; String Quartet by Ludwig van Beethoven: N ° 15 in A minor, Op. 132, n ° 13 in B flat major and Op. 130 Große Fuge in B flat major, Op. cit. 133. Signum Quartet: Florian donderer violin, Annette Walther violin, Xandi van Dijk Alto and Thomas Schmitz cello. Immersed in total deafness, Beethoven experienced at the end of his life new ways for the string quartet: he widened the movements, increased their numbers, addled the writing and found harmonies at the same time combined with incredible rhytms. The young South African composer Matthijs van Dijk also likes to go beyond the limits to explore new territories; he has also written an amazing work for the Signum Quartet in which the balancing and repetitive sound modes are shuffled to large sonic deflagrations… On the path designed by Beethoven, the string quartet continues to innovate… The concert is preceded by a meeting * at 6:30pm at the Oceanographic Museum “The alto, fifth wheel of the quartet?” by Tristan Plowt, musicologist.
Saturday, March 30 at 11.30am – Café de la Rotonde, Opéra Garnier-Meeting * with Renaud Capuçon, violin. David Christoffel, musicologist, animates exchanges.
Saturday, March 30 at 8:30pm -Opéra Garnier –FOURTH ROUND OF BEETHOVEN’S QUARTETS – Mauricio Kagel/Pandorasbox: Jean-Etienne Scullio, Bandoneon. String quartets by Ludwig van Beethoven: N°12 in E-flat major, Op. 127 and N°16 in Fa major, Op. 135. Quatuor Renaud Capuçon: Renaud Capuçon violin, Guillaume Chilemme violin, Adrien La Marca alto and Edgar Moreau cello. Renaud Capuçon coexists with a solo career, violin teaching and chamber music that he has never overlooked. Between two international tours, he enjoys playing in a quartet with his musician friends. Here he returns to Beethoven and in particular the last quartets, a true bible for musicians, as they develop a visionary aspect of the style that continues to fascinate artists and music lovers, even today. In the final Quartet # 16, the light appears as a last reflection thrown at the romantic genius that plays with the codes of his time, while a question arises in the entire score: “Muss en sein?” [“Is this necessary?”] … Last call, this time metaphysics, launched by Beethoven at its time and in the future. The concert is preceded by a meeting * at 6:30pm at the Hôtel de Paris-“To be a quartet”, presented by Jean-Claire Vançon, musicologist.
Sunday 31st March at 6pm –Grimaldi Forum- BÉLA BARTÓK CONCERTS, Concerto for violin and Orchestra No. 1, SZ. 36, SZ. 116 and Concerto No. 2, SZ. 112. BBC Symphony Orchestra: Peter Eötvös, direction and Renaud Capuçon violin. Tour de Force of the violinist, who on the eve of this concert interprets two of Beethoven’s most exacting string quartets, and who in this program with orchestra cumulates the two violin concertos of Bartók! Concerto No. 1 (1908), intimate and dark, is like an inner rhapsody, while Concerto No. 2 (1937) has a varied theme and shines with virtuosity. Between the two concerts, the orchestra plays the role of soloist, where each sound is expressed from time to time. The conductor Peter Eötvös is also a composer: he knows better than any other how to make the splendid orchestration of the sound of the Hungarian master. The concert is preceded by a meeting * at 4:30pm at the Crazy Fish Monte-Carlo/Grimaldi Forum: “The Bartók Concertos: a skilfully popular music” by Martin Guerpin, musicologist.
Week 4 from 04 to 07/04/2019 presents the third round of CDs in concert with the monumental Sonata in Si minor composed by Franz Liszt in the first half of the 1800, and much more!
Thursday, April 4 at 8:30pm – Salle Empire-Hôtel de Paris – CD IN CONCERT – LIZTZ AND REUBKE – Prelude, part of the resident master Alexandros Markeas: Blues & Bird: Elsa Ardrizzi piano (student at the municipal School of Music of Beausoleil)-Julius Reubke/Sonata for Piano in B flat minor-Franz Liszt: Sonata for piano in B minor, S. 178, Josquin otal piano. Lasting thirty minutes, the monumental Sonata in Si minor composed by Franz Liszt in the early 1850 is famous for its architecture, which brings together the four usual movements of the genre in a single movement structured by themes-characters and a tonal organization on a grand scale! Few contemporaries of the composer understood the revolutionary style of this work. With the exception, perhaps, of Julius Reubke, a young prodigy of the German piano, a admirer and pupil of Liszt, who had performed this sonata under the watchful eye of his author. In 1857, Reubke also composed a work of vast proportions in the same spirit as Liszt. The unique opportunity to listen to these two works in comparison is given by Josquin Otal, one of the most promising young French pianists of his generation. Sale of CDs and signing at the end of the concert with the support of Yamaha Music Europe.
Friday 05 April at 8:30pm – Saint Charles Church – SCHÜTZ-THE GERMAN BAROQUE – Prelude by the resident master Alexandros Markeas (in the presence of the composer): Les vagues sur les corps d’Alexandros Markeas and Reflet: Choir of the Music Conservatory of Grasse, Hadrian Candito – Favier clarinet (student at the Municipal School of Music of Beausoleil). Isabelle Ankry, choir director (professor of the Municipal Music School of Beausoleil). Heinrich Schütz: David and Solomon, drawn from the Psalms of David (Extraits) and Les Cris de Paris: Geoffrey Jourdain, direction. Heinrich Schütz is the largest German composer before Johann Sebastian Bach. Some have compared him to Claudio Monteverdi because he, like the Italian, was able to inspire the polyphony of the Renaissance instilling a freedom and a new style that we consider today as “baroque”.
Expressive, even theatrical, his music, full of echoes and striking colors, offers all the variety of human characters. His masterpiece is undoubtedly the Compendium Cantiones Sacrae (1625), a collection of 40 printed motets to celebrate his 40 years. In the sparkling acoustics of the Saint Charles Church, Les Cris de Paris reproduce this rich and captivating polyphony. The concert is preceded by a meeting *: Saint-Charles Church – Free shuttles – “Heinrich Schütz: The Afterlife of Religions” by Annick Dubois, musicologist. Cocktail offered at the end of the concert.
Sunday, April 7 at 11.30am – Café de la Rotonde Opéra Garnier-Meeting* with Jean-Guihen Queyras, cello.
Sunday, April 7 at 6pm –Auditorium Rainier III- SECOND ROUND OF THE BRAHMS CONCERTS – Mauricio Kagel: Recitatievarie, for recitant harpsichord. Matthias Geuting, acting harpsichord. Johannes Brahms: Concerto for Violin and cello in A minor, Op. 102 “Double Concerto” and Symphony No. 3 in Fa major, Op. 90. Monte Carlo Philharmonic Orchestra conducted by Kazuki Yamada, Jean-Guihen Queyras cello and Daishin Kashimoto violin. To continue the exploration of the Brahms’ concerts, it is important to take a pause on the single case of the Double Concerto for violin and cello. In this incredible work, the two soloists interact, but they also know how to unite their energy to compete with the power of the orchestra. In this alchemy, Brahms never seeks a confrontation; instead, he is looking for an ideal of orchestral chamber music in which all musicians can enjoy the pleasure of playing together. And it is ultimately this sought-after complicity which also emanates from his orchestral scores, in particular his Third symphony, the most personal of his four symphonies. The concert is preceded by a meeting *: “Kagel or the dedramatization of music” at 4:30pm presented by Omer Corlaix, editor and David Christoffel, musicologist. Cocktail offered at the end of the meeting.
The Week 5 from 11 to 14/04/2019 is dedicated to the fourth round of CD in concert, which presents a genius of the music of the twentieth century, Igor Stravinsky! Also, do not miss the Nuit du Piano in two parts in the incredible décor of the Oceanographic Museum of Monaco! Finally, you will have the opportunity to hear a real Mongolian “miracle”, a diphonic universe between the Steppe and the Altai! … The closing party will follow!
Thursday, April 11 at 8:30pm – Lycée Hotelier – CD STRAVINSKY: Italian Suite Duo concertante et Divertimento: Vera Novakova violin and Maki Belkin piano. The Rite of Spring, Petrushka, the Bird of Fire… Stravinsky’s large orchestral works are well known. But what about his production in the field of the chamber music? While these works are less frequented by musicians and by the public, they contain no less real jewels of invention… Take for example the pieces for violin and piano! Czech violinist Vera Novakova and Japanese pianist Maki Belkin put their complicity in these three tasty operas, in which Stravinsky often refers to the old style, as if he were compressing history: a story revisited by the mischievous spirit of the composer… Sale of CDs and signing at the end of the concert with the support of Yamaha music Europe.
Friday, April 12 from 14 to 17-Academy of Music Rainier III-MASTER-CLASS, CLAIRE DESERT, free admission within the limit of available seats.
Friday, April 12 at 8.30pm – Theatre Princess Grace, Free shuttles – “LUDWIG VAN” A MOVIE BY MAURICIO KAGEL – Prelude by Mauricio Kagel: Recitatievarie for recitant harpsichord, Annick Arpino, harpsichord (student at the Academy Rainier III of Monaco) from the revolutionary May 68, the facetious spirit of Mauricio Kagel is full of hearthful joy! His film Ludwig van (1969) is immersed in the fascination of the music of the famous Beethoven, with his themes that we all know, from the “pom-pom-poooom” of the Fifth Symphony to that of the Hymn to Joy. In the first sequence of the movie, Beethoven’s music is that of everyday life, but in a surreal and iconoclastic way. The scene of worship arrives later, when the spectator enters a room entirely covered by the music of the genius Ludwig, while the performers accidentally play what passes before their eyes, in the spirit of a jubilant happening…
Saturday 13 April from 10am to 1 pm – Académie de Musique Rainier III- Claire Désert, piano: Free admission within the limit of the available seats.
Saturday 13 April at 6pm – Oceanographic Museum, free shuttles –NUIT DU PIANO. Mauricio Kagel, Rrrrrr… 8 Pieces for organ (I. Raga) –Franz Schubert, piano Sonata N. 14, in a minor D. 784 – Christoph Willibald Gluck, The Death of Orpheus (extracted from the opera Orfeo e Euridice) – Luciano Berio, Wasserklavier – Franz Liszt, 12 Lieder – von Franz Schubert, S. 558 (II. Auf dem Wasser zu singen, S. 558/2) – Arrangement of Auf dem Wasser zu singen, D. 774 – Gabriel Fauré, Barcarolle N ° 5, Op. 66 – George Crumb, Dream images (Love, Death, Music) Gemini [F.G.L.] (Excerpt from Makrokosmos, Volume I) – Frédéric Chopin, Barcarolle, in F-sharp major, Op. 60-Aline Piboule, piano – Johann Sebastian Bach, Concerto for organ in D minor, BWV 596 – Robert Schumann, Grand Sonata No. 3, Concerto without orchestra in F minor, Op. 14 – Mauricio Kagel, Rrrrrr…, 8 pieces per organ (IV. Ragtime-Waltz) – Franz Liszt, Totentanz, Beatrice Berrut Piano – Mauricio Kagel, two-hands for piano – Robert Schumann, Romanza No. 2, in F-sharp major, Op. 28, Fantasia, in C major op. 17 and Novelette No. 2, in D major, Op. cit. 21 – Mauricio Kagel, Rrrrrr…, 8 pieces per organ (VII. Rosalie), Clear Désert, piano. The piano repertoire is endless! How can we make our way in this immensity? Rather than mentioning the famous masterpieces, this “night of the piano” prefers to follow cross-roads and highlight the unexpected preciousness of Schubert, Fauré, Berio or Crumb… Do you know the concert without Schumann’s orchestra, incredible creativity but feared by pianists for its difficulty? What about Liszt’s Totentanz? A gruesome dance full of frenzy and sarcasm… The three French pianists Aline Piboule, Beatrice Berrut and Claire Désert share this night full of discoveries! Cocktail offered at the end of the first part-with the support of Bösendorfer.
Sunday April 14 at 6pm -Opéra Garnier, free shuttles – TRADITIONAL MONGOLIAN MUSIC AND SONGS – ENSEMBLE CHIRGILCHIN – Mongolian vocal tradition is unique in the world: this cultivate singing diphonic gives the possibility of a second sound, more acute, in addition to the usual sound emitted in the bass from the vocal cords. The Chirgilchin Ensemble was formed in 1996 in southern Siberia around the singer Igor Koshkendey, an incredible artist who sings in Tuvan, the local language. The word “Chirgilchin” can be translated into English by “miracle”, because the joyful and dancing music of this ensemble is both wonderful and magic, while the sound colors unveiled are incredible! The concert is preceded by a meeting *: “Mongolian Music and songs, a Diphonic universe between the Steppe and the Altai!”, presented by Johanni Curtt, Ethno – musicologist at 4:30pm at the Hôtel de Paris.