Scenic creation

TREES / REQUIEM

WITH

André Markowicz (poet, translator)
Sonia Wieder-Atherton (cellist)

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Two evenings of Russian poetry.

Invited for a carte blanche by Jean Bellorini at the TNP in Villeurbanne, André Markowicz proposed two evenings of Russian poetry. It was January 21 and 22, 2022.

The trees

Poems by Marina Tsvétaïeva & Music by Stravinsky, Berio, Bach, and Boris Tchaïkovsky

The first step is to enter Tsvetaeva’s language, to hear her repeated, obsessive accents. Hearing the accumulation of words and consonants, feeling the tongue like a fruit from which you want to extract every last drop of juice. Hear the sound of stone, the sound of dry heather. Hear the sound of gray, the sound of old age, the sound of the wind. To hear the fawn’s exhaustion, to hear its ode to the trees, to hear the trees launch themselves to open their lungs to the sky. And this language, through André’s voice, will meet the music, the cello, sometimes the two intertwining, sometimes the music dashing off on its own. Guided by him, André, the sounds would lead us to meaning, so we’d move forward step by step.

Requiem

Poems by Anna Akhmatova accompanied by Benjamin Britten’s3rd Suite for Solo Cello, Op. 87

Requiem by Anna Akhmatova. Twelve songs, twelve poems with different intonations, different voices, twelve songs of the Russian people under terror,” says André. There is no manuscript of Requiem. Anna Akhmatova burned them. She asked seven of her friends, seven women, to come to her house and learn it by heart. And it was seven friends who, for twenty years, came to see her to make sure they would pass it on without error.

It would first be a matter of entering Tsvetaeva’s language, of hearing her repeated, obsessive accents. “

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credits & thanks

CONCEPTION & CELLO

Sonia Wieder-Atherton, assisted by Quentin Balpe

SOUND DESIGN

Alain Français, assisted by Thomas Fourny

IMAGES

Sarah Moon

PRODUCTION

Walter Films

PHOTOS

Quentin Balpe

TECHNICAL RESOURCES

Preferably®.

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.”