Scenic creation



Charlotte rampling

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“I discovered Sylvia Plath years ago, when Delphine and Coralie Seyrig performed a play based on Sylvia Plath’s letters to her mother. So it was through his correspondence and later his diaries, and finally his poetry, that I entered his world.
Her diaries contain her whole life. Because she writes every moment of her life. His dazzles, his falls into darkness, his encounters, his tireless research.
For me, reading this diary is like feeling Sylvia Plath’s pulse.
Feel it speed up, slow down, every day. Perhaps it’s a matter of working towards the poetry that confronts us with its dazzling force.

His poetry, a song, a cry, which goes far beyond any biographical notion, questions life. Destroy to be reborn. Eternally reborn.

It was this poetry that I imagined Charlotte Rampling saying when we decided to work together. Of course I could hear her slightly husky, expressive, cello-like timbre, but above all I felt that carrying Sylvia’s voice, that solitary, radical voice, was for her.
Then I had this intuition, Benjamin Britten. His suites for solo cello. Free and powerful. Such imaginative writing.
From the very first rehearsal, it was obvious.
As if Britten’s universe were not afraid of Plath’s. From its extremes, from the rustle of its tongue. Quite the contrary. He went with her, giving her his hand. Preceding or following it with its haunting marches, its deep songs, its infinite colors, its contrasts, even its humor at times. And his sense of form.”

“There arethings that have their own force, their own logic. And that drive you rather than you driving them.”


Sylvia Plath, Lady Lazarus
Benjamin Britten, Suite No.2, Op.80, Declamato largo
Sylvia Plath, The Night Dances
Benjamin Britten, Suite No.2, Op.80, Fuga andante
Sylvia Plath, Edge
Sylvia Plath, Ariel
Benjamin Britten, Suite No.2, Op.80, Scherzo allegro molto
Sylvia Plath, Letter in November
Benjamin Britten, Suite No.2, Op.80, Andante lento
Sylvia Plath, Three Women, excerpts
Sylvia Plath, Daddy
Benjamin Britten, Suite No.2, Op.80, Ciaccona allegro
Sylvia Plath, Wintering
Sylvia Plath, Medusa
Benjamin Britten, Suite No.3, Op.87, Barcarola lento
Sylvia Plath, Contusion
Benjamin Britten, Suite No.3, Op.87, Fuga andante espressivo
Sylvia Plath, Love Letter
Benjamin Britten, Suite No.3, Op.87, Introduzione lento

credits & thanks


Sonia Wieder-Atherton and Charlotte Rampling


Charlotte Rampling


Sonia Wieder-Atherton


Emmanuelle Touati


Sonia Wieder-Atherton


Franck Thévenon


Marthe Lemelle


Les Visiteurs du Soir

New release

BACH: Cello Suites Nos. 3 & 4

“It’s a question of digging into the string until the phrase is born, along with its right breath. A sentence in perpetual becoming. It never stops being made and remade. I waited a long time to record them. And then one day, or rather one night, I began.”