La Chambre aux échos

05/02/2025

La Passion de Simone renaît à Reims avec une mise en scène captivante. 🎶✨ 👉 https://l.diapasonmag.fr/sX

14/11/2023

Ten years ago we premiered our production of Kaija Saariaho's and Amin Maalouf's LA PASSION DE SIMONE at the MELOS-ETHOS International Festival of Contemporary Music in Bratislava, Slovakia, with our friends of Secession Orchestra. Since then, this multisensorial meditation on the life and work of philosopher-activist-mystic Simone Weil (1909-1943) has toured in France, Poland, Denmark, Norway, Finland, and the US, with an evolving team of performers and in collaboration with various local ensembles. The show is adapted to each new space and has shone in every possible venue, from a brewery-turned-theatre to a Gothic cathedral, from a barn to an 18th-century opera house, from a cloister to a modern vineyard-shaped concert hall. We are proud of everything we learned in this adventures and hope for upcoming opportunities to continue the journey.

2016 (NEW YORK):

“I had the joy of attending in New York, in November 2016, a new production of La Passion de Simone, first performed ten years earlier in Vienna. Remarkably served — in the staging, in the musical direction, as in the interpretation — by a young, dedicated, talented and inventive team, this performance was, for all those lucky enough to attend, a moment of aesthetic pleasure as much as a poignant meditation on History, on the present times, and on the human condition in general.”

(Amin Maalouf, librettist of La Passion de Simone)

“A poignant production.”

(The Economist)

2022 (HELSINKI):

“The fusion of text, music and staging constitutes a multimodal hall of mirrors, where ideas and gestures are extended seamlessly from one sensory realm to the next as harmonic progressions carry over to permutations in imagery and rhythmic cells generate onstage pacing and movement. In this way, the fundamental ambiguity of the libretto becomes implanted through ravishing synaesthesia, to a gripping effect. (…)

Reaching into the auditorium and beyond into the foyer, Barrière’s stage setup in conceived with translucence (…). The visual narrative is realized through subtly choreographed movement, enhanced by Étienne Exbrayat’s ingenious lighting design and Liisa Nieminen’s clear-cut costumes, with additional commentary from processed video images, wrought out of archival footage and contemporary material, proving the core drama with extended societal commentary.

The solo part was superbly sung by Sayuri Araida, whose stage presence was equally compelling, as was that of the actor Isabelle Seleskovitch’s. Joined by the marvellous vocal quartet of La Chambre aux échos, soprano Faustine de Monès, mezzo-soprano Marianne Seleskovitch, tenor Johan Viau and baritone Johannes Linneballe, Saariaho’s vocal writing was in good hands throughout the evening.

Under Mao-Takacs’s ever-sensitive direction, the score was unraveled in admirable transparency of texture and absorbingly idiomatic pacing. The instrumental fabric was given in compelling virtuosity by the members of Avanti!, providing the orchestral writing with exquisite nuance and colour. (…)

Given in two fully-packed evenings, the production was awash with contemporary music theatre in its most engaging and invigorating guises; a milestone event in Helsinki.”

(Jari Juhani Kallio, Adventures in Music)

2017 (BERGEN):

“The elements are tremendously well matched to each other, into a touching, shaking and thoughtful whole. (…) This is a show that makes the Festival important, and that is rare to find anywhere, both in terms of its essential content and of its musical and theatrical qualities.”

(Bodil Maroni Jensen, Klassisk Musikkmagasin)

“Aleksi Barrière’s staging is elegant and moves from the individual to the collective. (…) As a whole the work rejects the univocal frame that is nowadays all too common. It doesn’t try to harness interpretations but offers them to us. (…)

I enjoyed the vocal expression of the solo soprano Sayuri Araida, artful and devoid of egotism. The interplay between her part and the actress Isabelle Seleskovitch spoke to me. The vocal quartet sang beautifully and Avanti!, conducted by Clément Mao-Takacs, resonated with rich sounds.

The stage solution of things occurring simultaneously on multiple levels was effective. Even though recognizable imagery of the black and white videos for instance of a far-right demonstration sometimes broke the meditative atmosphere, it didn’t disturb me. The videos function at the interface between the inside and the outside, as an uncommented mindscape/landscape growing from the associations of the music.

Barrière stated before the performance that we are to train our imagination and asked whether it was time for us to think for ourselves.

This impressive, haunting La Passion de Simone forces us to do just that.”

(Sonja Saarikoski, Helsingin Sanomat)

“One novelty was the reduction of the orchestra to chamber proportions, an effective idea. The other was Aleksi Barrière’s beautiful staging, which operated within a minimalistic physical language. (…) The performer of the main part, Sayuri Araida, was as convincing vocally as theatrically, as she inhabited every detail of Barrière’s staging. The same can be said about the vocal quartet, an international group of soloists appearing on stage with everyday naturalness, somewhere between additional spectators and objects of identifications. The musical direction was in the confident hands of Clément Mao-Takacs, who also had a substantial role in the creation of the chamber version of this Passion. The orchestra was the best possible for this mission, meaning Avanti!, who are used to such demanding avant-garde works.”

(Eero Tarasti, Amfion)

2014 (CLERMONT-FERRAND):

“Clément Mao-Takacs mastered his subject superlatively at the helm of the instrumental ensemble Secession Orchestra (…) Supported by Étienne Exbrayat’s equally minimalist lighting, Aleksi Barrière’s stripped-down, exacting staging conveyed the intimacy of the libretto, tinged with subtle spirituality.”

(Roland Duclos, forumopera.com)

“Aleksi Barrière, like Peter Sellars (the Passion’s first director), seems to want to integrate the theatrical performance with the life of the spectator: the decompartmentalization between what happens on stage and what happens in the audience, through the principle of visible backstage, offers the perfect setting for the evocation of Simone Weil, canonized by this work.”

(Christophe Dilys, Classicagenda)

2014 (SAINT-DENIS):

“Secession Orchestra was under the concentrated and attentive direction of Clément Mao-Takacs (…) The young director Aleksi Barrière (…), in collaboration with Pauline Squelbut, devised an effective set-up. (…) Everything is treated with sobriety, respecting a certain hieratic style, in order to compose tableaux that suggest and concentrate emotion.”

(Rémy Louis, Diapason)

“… a jewel box of timbres chiseled by conductor Clément Mao-Takacs and his Secession Orchestra (…) Aleksi Barrière’s staging is just as rigorous and sparing (…) One leaves this Simone Passion galvanized and feeling strangely light.

(Éric Dahan, Libération)

“The performance at the Basilique de Saint-Denis, as a prelude to the annual Festival, is more than just a staging, it’s a full production. (…) Careful lighting of the architectural environment and background projections (…) add to an intelligent visualization. Discreet but effective acting confirms the impression of a ritual unfolding, punctuated by superb freeze-frames. (…) The twenty or so soloists of the Secession Orchestra, under the precise and attentive direction of Clément Mao-Takacs, illuminate a score that is more than endearing.”

(Jean-Pierre Robert, L’éducation musicale)

More here: https://en.chambreauxechos.org/creations/la-passion-de-simone/

05/01/2023

Thank you Helsinki for the warm welcome LA PASSION DE SIMONE received on its two performances at Musiikkitalo in December. Here are some visual impressions by photographer Minna Hatinen and verbal impressions from critics.

“The fusion of text, music and staging constitutes a multimodal hall of mirrors, where ideas and gestures are extended seamlessly from one sensory realm to the next as harmonic progressions carry over to permutations in imagery and rhythmic cells generate onstage pacing and movement. In this way, the fundamental ambiguity of the libretto becomes implanted through ravishing synaesthesia, to a gripping effect. (…)
Reaching into the auditorium and beyond into the foyer, Barrière’s stage setup in conceived with translucence (…). The visual narrative is realized through subtly choreographed movement, enhanced by Étienne Exbrayat’s ingenious lighting design and Liisa Nieminen’s clear-cut costumes, with additional commentary from processed video images, wrought out of archival footage and contemporary material, proving the core drama with extended societal commentary.
The solo part was superbly sung by Sayuri Araida, whose stage presence was equally compelling, as was that of the actor Isabelle Seleskovitch’s. Joined by the marvellous vocal quartet of La Chambre aux échos, soprano Faustine de Monès, mezzo-soprano Marianne Seleskovitch, tenor Johan Viau and baritone Johannes Linneballe, Saariaho’s vocal writing was in good hands throughout the evening.
Under Mao-Takacs’s ever-sensitive direction, the score was unraveled in admirable transparency of texture and absorbingly idiomatic pacing. The instrumental fabric was given in compelling virtuosity by the members of Avanti!, providing the orchestral writing with exquisite nuance and colour. (…)
Given in two fully-packed evenings, the production was awash with contemporary music theatre in its most engaging and invigorating guises; a milestone event in Helsinki.”

(Jari Juhani Kallio, Adventures in Music)

“Aleksi Barrière’s staging is elegant and moves from the individual to the collective. (…) As a whole the work rejects the univocal frame that is nowadays all too common. It doesn’t try to harness interpretations but offers them to us. (…)

I enjoyed the vocal expression of the solo soprano Sayuri Araida, artful and devoid of egotism. The interplay between her part and the actress Isabelle Seleskovitch spoke to me. The vocal quartet sang beautifully and Avanti!, conducted by Clément Mao-Takacs, resonated with rich sounds.

The stage solution of things occurring simultaneously on multiple levels was effective. Even though recognizable imagery of the black and white videos for instance of a far-right demonstration sometimes broke the meditative atmosphere, it didn’t disturb me. The videos function at the interface between the inside and the outside, as an uncommented mindscape/landscape growing from the associations of the music.

Barrière stated before the performance that we are to train our imagination and asked whether it was time for us to think for ourselves.

This impressive, haunting La Passion de Simone forces us to do just that.”

(Sonja Saarikoski, Helsingin Sanomat)

“One novelty was the reduction of the orchestra to chamber proportions, an effective idea. The other was Aleksi Barrière’s beautiful staging, which operated within a minimalistic physical language. (…) The performer of the main part, Sayuri Araida, was as convincing vocally as theatrically, as she inhabited every detail of Barrière’s staging. The same can be said about the vocal quartet, an international group of soloists appearing on stage with everyday naturalness, somewhere between additional spectators and objects of identifications. The musical direction was in the confident hands of Clément Mao-Takacs, who also had a substantial role in the creation of the chamber version of this Passion. The orchestra was the best possible for this mission, meaning Avanti!, who are used to such demanding avantgarde works.”

(Eero Tarasti, Amfion)

LA PASSION DE SIMONE
by Kaija Saariaho and Amin Maalouf

Concept and realization La Chambre aux échos
Musical Direction Clément Mao - Takacs
Stage Direction Aleksi Barrière
Scenography Pauline Squelbut
Co-Scenography and Lighting Etienne Exbrayat
Costumes Liisa Nieminen

Featuring Sayuri Araida, solo soprano
Faustine de Mones, Marianne Seleskovitch, Johan Viau, Johannes Linneballe, vocal ensemble
Isabelle Seleskovitch, actress

and Avanti! kamariorkesteri / Avanti! Chamber Orchestra

Production La Chambre aux échos and Teatro Productions Oy

31/12/2022

"The fusion of text, music and staging constitutes a multimodal hall of mirrors, where ideas and gestures are extended seamlessly from one sensory realm to the next as harmonic progressions carry over to permutations in imagery and rhythmic cells generate onstage pacing and movement. In this way, the fundamental ambiguity of the libretto becomes implanted through ravishing synaesthesia, to a gripping effect."

Jari Juhani Kallio, who very consistently studies the scores of new works, interviews their makers and attends rehearsals, keeps on raising the standard for critique, and it is always a pleasure to read his impressions of one's own performance – yesterday he reviewed for the second time our LA PASSION DE SIMONE, after writing about the Finnish premiere in 2019.

Sayuri Araida, Isabelle Seleskovitch, Faustine de Monès, Marianne Seleskovitch, Johan Viau, Johannes Linneballe and Avanti! Chamber Orchestra performing La Passion de Simone under Clément Mao-Takac…

27/12/2022

After five postponements, LA PASSION DE SIMONE, our meditation on the life of Simone Weil (1909-1943) and the social and spiritual revolution she wanted to spark, is coming to Musiikkitalo for two very special site-specific performances on December 29th and 30th, 2022.

LA PASSION DE SIMONE
by Kaija Saariaho and Amin Maalouf

Concept and realization La Chambre aux échos
Musical Direction Clément Mao - Takacs
Stage Direction Aleksi Barrière

Scenography Pauline Squelbut
Co-Scenography and Lighting Etienne Exbrayat
Costumes Liisa Nieminen

Featuring Sayuri Araida, Faustine de Mones, Marianne Seleskovitch, Johan Viau, Johannes Linneballe, Isabelle Seleskovitch
and Avanti! kamariorkesteri / Avanti! Chamber Orchestra

Production La Chambre aux échos and Teatro Productions Oy

Suomen Säveltäjät Ry on kutsunut Kaija Saariahon kunniajäsenekseen Jean Sibeliuksen ja suomalaisen musiikin päivänä 8.12.2022. Saariaho on ensimmäinen kunniajäseneksi kutsuttu naissäveltäjä yhdistyksen historiassa. Tänä vuonna 70-vuotissyntymäpäiviään viettävän Saariahon juhlavuo...

15/10/2022

[BACK ONLINE] As the Finnish composer Kaija Saariaho celebrates her 70th birthday, the filming of her opera LA PASSION DE SIMONE in our production is back online, on the platform Yle Areena. The performance, starring our ensemble cast led by soprano Sayuri Araida and Avanti! kamariorkesteri / Avanti! Chamber Orchestra, under the musical direction of Clément Mao - Takacs and in the staging of Aleksi Barrière, was the Finnish premiere of this version and took place at the Tampere-talo in 2019. It was praised by the press as 'realized at the highest possible artistic level' (Harri Hautala, Aamulehti) and 'superb in every sense' (Jari Juhani Kallio, Adventures in Music). Maybe this is your opportunity to enjoy this work of transparent textures and meditation, centered on the life and writings of philosopher and activist Simone Weil (1909-1943), a work Kaija Saariaho herself calls her 'musical testament'.

Finnish and English subtitles available.

https://areena.yle.fi/1-50430885

LA PASSION DE SIMONE
by Kaija Saariaho and Amin Maalouf

Concept and realization La Chambre aux échos
Musical Direction Clément Mao - Takacs
Stage Direction Aleksi Barrière

Scenography Pauline Squelbut
Co-Scenography and Lighting Etienne Exbrayat
Costumes Liisa Nieminen

Featuring Sayuri Araida, Sandra Darcel, Marianne Seleskovitch, Johan Viau, Romain Dayez, Isabelle Seleskovitch

and Avanti! kamariorkesteri / Avanti! Chamber Orchestra

Teos pohjautuu filosofi Simone Weilin elämään. Esiintyjinä Avanti!, musiikkiteatteriryhmä La Chambre aux échos, sopraano Sayuri Araida, ja näyttelijä Isabelle Seleskovitch. Kapellimestarina toimii Clément Mao-Takacs.

04/10/2022

We put the war back into The Soldier's Tale (trio version).
Think 1917 cabaret. Desire. Hope. Failed revolutions.
Collage and music theatre vs. propaganda films.
Tulkaa katsomaan 17.10.22. Musiikkitalon Klubilla. Vapaa pääsy!

THE FATZER SOLDIER'S TALE - SOTILAS FATZERIN TARINA

Igor Stravinsky, music / musiikki
Aleksi Barrière, text & direction / teksti & ohjaus
Thomas Kellner, actor / näyttelijä
Aliisa Neige Barrière, violin / viulu
Janne Valkeajoki, accordion / harmonikka
Lauri Sallinen, clarinet / klarinetti

presented by Musiikkitalon Urut Soimaan ry at Musiikkitalo

Video by Lucia Schmidt

30/08/2022

[TUTUSTU TAITEILIJOIHIN] Kaija Saariaho, Sebastian Hilli, Matias Vestergård, kolme aikamme säveltäjää. Teokset STUDY FOR LIFE, …THROUGH ITS DARKNESS ja PEACH, jotka muodostavat BETWEEN-esityksen ensimmäisen puoliskon, he kirjoittivat jokainen 28-30 vuotiaina, ja niissä avautuvat henkilökohtaiset näkökulmat nuoren ihmisen kokemuksista ja tavoitteista taiteilijana ja ihmisenä. Erityisen tärkeää projektillemme oli yhdistää nykyään arvostetun säveltäjän työt aikamme nuorempiin lupauksiin, teoksilla jotka liittyvät samaan elämänvaiheeseen ja sille ominaiseen angstiin –meidän katveaikamme angsti.

Ennen 2.9. esitystä, klo 18 Alminsalin lämpiössä, pääset kuuntelemaan Kaija Saariahon ja Matias Vestergårdin välistä keskustelua, johon osallistuvat myös kapellimestari Clément Mao - Takacs ja ohjaaja Aleksi Barrière. Tämä tulee olemaan hieno tilaisuus kuulla säveltäjän työstä, sukupolvien- ja taidemuotojenvälisestä dialogista, ja saada uusia avaimia BETWEENin kokemiseen.

30/08/2022

[TUTUSTU TAITEILIJOIHIN] Martin Atanasov on monipuolinen valokuvaaja ja kuvataiteilija Bulgariasta, joka käyttää taiteessaan kameran lisäksi kynää ja saksia, ja kehittää kuvia sekä galleria- että kirja- ja esitystilanteisiin. Työssään kuvilla on pitkä ja monimutkainen elämä, sillä kuvattua materiaalia Martin käsittelee käsin ja kuvaa uudelleen, kunnes on löytänyt sille oikean muodon ja kontekstin, eikä mikään ole hänen visuaalisessa maailmassaan mitä pinnallisesti näyttää olevan. Niinpä hän suostui antamaan käytettäväksi ohjaaja Aleksi Barrièrelle arkistostaan sekä valmiita että luonnostilaan jääneitä teoksia, jotka on Martinin tyyliin hyödynnetty uuteen, laajempaan kollaasimuotoon BETWEENin ensimmäisessä osassa, Kaija Saariahon STUDY FOR LIFE-teoksen yhteydessä. Martinin mustavalkoinen fragmentoitu maailma tarjoaa täydellisen visuaalisen vastineen teoksen innoittaneelle T.S. Eliotin runolle ONTOT MIEHET.

29/08/2022

[TUTUSTU TAITEILIJOIHIN] Timo Kurkikangas kuuluu uuden sukupolven kysytyimpiin äänisuunnittelijoihin Suomessa, ja tekee myös kansainvälisesti töitä aikamme musiikin parissa. Sekä suunnitteluvaiheessa että elektroniikan toteuttamisessa Timo on suosittu yhteistyökumppani monelle säveltäjälle ja orkesterille/ensemblelle. Myös Kaija Saariahon kanssa Timo on tehnyt säännöllisesti töitä viimeiset 15 vuotta – viimeisimpiin projekteihin kuuluvat INNOCENCE-oopperan kantaesitys Ranskassa (tulossa Kansallisoopperaan lokakuussa Clément Mao - Takacsin johdolla) ja ONLY THE SOUND REMAINS -oopperan uusi ohjaus Aleksi Barrièren käsissä Tokiossa. Nyt Timon osaaminen ja herkkyys mahdollistavat Saariahon Study for Lifen rekonstruoidun version kantaesityksen BETWEEN-kokonaisuuden sisällä: historiallinen teos sopraanolle ja nauhalle vuodelta 1981 herää uuden sukupolven innostuksesta henkiin, aikamme teknologialle sovitettuna.

(Tänään otetussa kuvassa myös säveltäjä Clément Mao - Takacs ja Secession Orchestra harjoittelemassa Sebastian Hillin (varjo) teosta PEACH, jonka uusi versio saa kantaesityksensä BETWEEN-esityksessämme keskiviikkona 31.8.)

29/08/2022

[TUTUSTU TAITEILIJOIHIN] Videosuunnittelijamme Jean-Baptiste Barrière ja Thomas Goepfer ovat kaksi ranskalaista multimediataiteilijaa ja tietokonemusiikin eksperttiä, jotka mm. kehittivät musiikkia varten rakennetulla teknologialla (esimerkiksi Pariisin IRCAM-keskuksessa, jossa molemmat ovat olleet töissä) uusia välineitä musiikin ja visuaalisuuden yhdistämistä varten. Molemmat toimivat vapaalla kentällä ja laativat omia esitys- ja installaatiomuotojaan, joissa musiikki ja videotaide kietoutuvat orgaanisesti. BETWEENiin he tekivät Max/MSP-ohjelmistolla tietokone-ohjelman, jonka avulla ohjaaja Aleksi Barrière on suunnitellut esitykset video-osuuden. BETWEENissa, projisoidulla kuvalla on musiikin rinnalla päärooli, interaktiona ja vuorovaikutuksessa Etienne Exbrayat’n valaistuksen kanssa, ja videon käytössä on erikoista Jean-Baptisten ja Thomas’n panos, jonka ansioista kuvia ajetaan niin kuin musiikin elektroniikkaa ja joka muodostaa esityksen elävän kulissin.

(Kuvassa yhteistyössä säveltäjä Kaija Saariahon kanssa.)

27/08/2022

[TUTUSTU TAITEILIJOIHIN] Etienne Exbrayat on luonut kaikki La Chambre aux échos’n valaistukset alkaen vuodesta 2013, vahvassa yhteydessä lavasuunnitteluihin jotka useimmiten muodostuvat ennen kaikkea valojen ja videoiden veistämistä tiloista. Suomessa esitetyissä projekteissa lehdistö on kehunut LA PASSION DE SIMONEn salaperäistä läpinäkyvyyttä (Tampere-talo, 2019) ja VIOLENCESin kaleidoskooppisia visioita (Kansallisoopperan Alminsali, 2019), sekä Étiennen valodramaturgioiden orgaanista suhdetta musiikkiin. Uusi esityksemme BETWEEN kertoo matkasta pimeydestä valoon, uusien värien löytämisestä aikamme katvetiloista; produktio antaa siis Étiennelle hienon tilaisuuden avata meille taiteensa kirjon ja käydä poikkitaiteellista keskustelua (kolmen säveltäjän) musiikin kanssa, yhteistyössä esiintyjien ja Aleksi Barrièren ohjauksen ja videon kanssa. Kokemus tulee olemaan myös visuaalisesti vahva: liity yleisöön!