L’archange - free
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The Oper’installation L’Archange explores the trial of the Archangel of Evil. Placed inside three fabulous video installations, three new victims testify about their misfortunes before a judge who becomes progressively more agitated. Walking through the space, sometimes even bumping into audience members, the judge finally suspends the trial, which has no beginning and no end.
To judge evil in order to condemn it. To judge it according to ethical norms in order to not behave in such a way. A trial.
Evil — by which we mean absolute evil (the evil of genocides, nuclear bombs, terrorism) — eludes reason, history or even description. In fact, it can only be embodied by an archangel. Moreover, rhetorical speech — articulated, argumentative, analytical — cannot be used because evil eludes any sense. In fact, that is what defines it. However, by using the excessive aesthetic of opera, enough space is created to at least approach the subject, if not to give it a thorough examination.
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CREATIVE TEAM
Louis Dufort, music | Alexis Nouss, libretto | Pauline Vaillancourt, concept and stage | Alain Pelletier, visual artist| Pascal Dufaux, installationand scenography direction | François Roupinian, lighting | Jacques-Lee Pelletier, make-up | Liz Vandal, costumes
PERFORMERS
Jean Maheux, actor | Fides Krucker, mezzo-soprano | Émilie Laforest, soprano | Frédéricka Petit-Homme, mezzo-soprano
Press review
Les voix s’unissent en un trio presque digne de figurer aux côtés de celui du Chevalier à la rose de Strauss.
- François Tousignant, Le Devoir
There is a transcendent promise of beauty from Chants Libres, our principal exponent of out- there opera.
- Arthur Kaptainis, The Gazette
La compagnie Chants Libres aligne depuis 1990 les créations les plus iconoclastes et renouvelle à chaque fois les conventions opératiques. Rien n’arrête le désir de Pauline Vaillancourt de faire sortir l’opéra de ses gonds.
- Réjean Beaucage, Voir
The Oper’installation L’Archange explores the trial of the Archangel of Evil. Placed inside three fabulous video installations, three new victims testify about their misfortunes before a judge who becomes progressively more agitated. Walking through the space, sometimes even bumping into audience members, the judge finally suspends the trial, which has no beginning and no end.
To judge evil in order to condemn it. To judge it according to ethical norms in order to not behave in such a way. A trial.
Evil — by which we mean absolute evil (the evil of genocides, nuclear bombs, terrorism) — eludes reason, history or even description. In fact, it can only be embodied by an archangel. Moreover, rhetorical speech — articulated, argumentative, analytical — cannot be used because evil eludes any sense. In fact, that is what defines it. However, by using the excessive aesthetic of opera, enough space is created to at least approach the subject, if not to give it a thorough examination.
More info
CREATIVE TEAM
Louis Dufort, music | Alexis Nouss, libretto | Pauline Vaillancourt, concept and stage | Alain Pelletier, visual artist| Pascal Dufaux, installationand scenography direction | François Roupinian, lighting | Jacques-Lee Pelletier, make-up | Liz Vandal, costumes
PERFORMERS
Jean Maheux, actor | Fides Krucker, mezzo-soprano | Émilie Laforest, soprano | Frédéricka Petit-Homme, mezzo-soprano
Press review
Les voix s’unissent en un trio presque digne de figurer aux côtés de celui du Chevalier à la rose de Strauss.
- François Tousignant, Le Devoir
There is a transcendent promise of beauty from Chants Libres, our principal exponent of out- there opera.
- Arthur Kaptainis, The Gazette
La compagnie Chants Libres aligne depuis 1990 les créations les plus iconoclastes et renouvelle à chaque fois les conventions opératiques. Rien n’arrête le désir de Pauline Vaillancourt de faire sortir l’opéra de ses gonds.
- Réjean Beaucage, Voir