Hubert Hazebroucq & Exit / Emmanuel Resche-Caserta
Dance performance: Fête galante
You have access to this concert
You have access to this concert
Price: {{ new Intl.NumberFormat('nl-NL', {style:'currency',currency:'EUR'}).format(price) }}
The concert is no longer available.
The concert is no longer available.
Recorded live at the Stadsschouwburg / Grote Zaal, Utrecht, 3 September 2022
You don't have access to this concert.
The concert is no longer available.
About this concert
Which types of dance are the characters from Watteau's famous painting L'embarquement pour Cythère dancing? With five dancers and live music, the French dancer and choreographer Hubert Hazebroucq brings to life the figures in Watteau's painting, evoking various Parisian scenes. By means of projected engravings, the visual universe of Watteau and his pupils will accompany the dancing and singing characters on stage.
Programme
-
Jean-Joseph Mouret
Ouverture
(from: Concert de chambre, 1734)1682-1738 -
François Couperin
Les Pellerines
1668-1733 -
André Cardinal Destouches
Passepied
(from: Issé, 1697)
choreography after Raoul Anger Feuillet (La Goustalla, 1709)1672-1748 -
François Colin de Blamont
Musette
(from: Les Fêtes Grecques et Romaines, 1723)
choreography after Guillaume Louis Pécour (uit: La Musette, 1724)1690-1760 -
Jean-Joseph Mouret
Livrons-nous à l’Allegresse
(from: Les Amours de Vincennes, 1719) -
Michel l’Affilard
Bourrée: L’amour fait répandre des larmes
(from: Principes trés-faciles pour bien apprendre la musique, 1705)ca. 1656-1708 -
François Colin de Blamont
Gigue: Deuxième air des Bacchantes
(from: Les Fêtes Grecques et Romaines, 1723)
choreography: Louis Guillaume Pécour (from: La Primeroze, 1724) -
Jean-Baptiste-Maurice Quinault
Vaudeville: Dès longtemps nous sommes en voyage
(from: Le Roy de Cocagne, 1718)
choreography after the Durlach-manuscript, ca. 17271687-1745 -
Jean-Joseph Mouret
Rassemblez-vous dans ces bocages
(from: Le May, 1719)
Sarabande
Tambourin
(from: Concert de chambre) -
André Cardinal Destouches
Musette: Dans nos champs l’amour de Flore
(from: Callirhoé, 1712)
choreography: Louis Guillaume Pécour, ca. 1713 -
Jean-Baptiste Lully
Premier Air
Prologue
(from: Acis et Galatée, 1687)
choreography after Louis Guillaume Pécour, ca. 1713
Premier air des Espagnols
(from: Le Bourgeois Gentilhomme, 1670)
choreography after Jean Favier and Louis Guillaume Pécour, 1704.1632-1687 -
Jean-Baptiste Stuck
Cruels soupçons, transports jaloux
(from: Méléagre, 1709)1680-1755 -
André Campra
Premier Air pour les Espagnols
(from: L’Europe Galante, 1697)
choreography: Louis Guillaume Pécour, 17041660-1744 -
Jean-Baptiste Stuck
Recitatief: Lâches et crédules amants
(from: Héraclite et Démocrite, 1711) -
Jean-Pantaléon Leclerc
Suite de cotillons
(from: Premier recueil de contredanses...)
choreography: Jacques Dezais, L’Écossoise (from: Premier livre de contredanses, 1726)1693-176.? -
Jean-Claude Gillier
Venez dans l’île de Cythère
(from: Les Trois Cousines, 1700)
Marche contrefaisant la vielle
(from: L’Inconnu, 1703)1667-1737 -
Jean-Joseph Mouret
Quoy qu’on dise du Mariage
(from: La Veuve coquette, 1721) -
Michel-Richard de Lalande
Contredanses
La Sissonne
Les Tricotets
Branle de Bourges
La Cassandre
Menuets
(from: Les Folies de Cardénio, 1720)
choreography after Les petites danses (from: Durlach manuscript) -
Jean-Joseph Mouret
Vive Jacquet, vive Colette
(from: Belphégor, 1721)
Vaudeville: Cessez barbon d’être amoureux
(from: L’amante romanesque, ou La Capricieuse, 1718) -
Jean-Féry Rebel
Rigaudon
(from: Les Plaisirs Champêtres, 1734)1666-1747 -
Jean-Joseph Mouret
Parapatapan
(from: L’Amour maître de langue, 1718) -
Jean-Pantaléon Leclerc
Suite de contredanses et cotillons
Ma Commère
Cotillon de Surenne
(from: Premier recueil de contredanses, 1729) -
Nicolas Racot de Grandval
Sopr’al mare, voga mio cor
(from: Le Port de mer, 1704)1676-1753 -
André Campra
Amour, favorise mes voeux
(from: Les Fêtes Vénitiennes, 1710) -
Jean-Joseph Mouret
Vénitienne
(uit: Concert de chambre)
Folatrons, divertissons-nous
(from: La Rupture du Carnaval et de la folie, 1719)
Chaconne comique
(from: Les Débuts, 1729)
Au bruit de nos tambours
(from: Belphégor, 1721) -
André Campra
Air des polichinels
(from: Les Festes Vénitiennes, 1710)
choreografie: Louis-Guillaume Pécour, ca. 1713 -
Jean-Claude Gillier
Au jeu d’amour, comme à Colin-Maillard
(from: Colin Maillard, 1701) -
François Couperin
Les Solitaires
-
Jean-Féry Rebel
Passacaille
(from: Pièces pour le violon, 1705)
Musicians
- Compagnie Les Corps Éloquents
- Alix Coudray, Irène Feste, Hubert Hazebroucq, Marius Lamothe, Antonin Pinget, Perrine Plenchette dancers
- Hubert Hazebroucq concept, choreography and reconstruction of the dances
- Marie-Astrid Adam direction
- Guillaume Junot light and projections
- Magali Castellan costumes
- Matthieu Franchin musical advisor
- EXIT
- Virginie Thomas soprano
- David Witczak bass-baritone
- Augusta McKay-Lodge violin
- Carlota Ingrid García traverso
- Niels Coppalle bassoon, recorder
- Myriam Rignol viola da gamba
- Giulio Quirici theorbo, guitar
- Bart Van Troyen musette
- Emmanuel Resche-Caserta violin and musical direction
About the performers
Hubert Hazebroucq is a professional dancer specialised in Renaissance and Baroque dance since 1998, and the choreographer of the Company Les Corps Eloquents, founded in 2008. He collaborates with many renowned musicians, including William Christie (Les Arts Florissants), Denis Raisin-Dadre (Doulce Mémoire), and the Orchestra of the Age of Enlightenment. He publishes many academic articles as an independent researcher, and teaches early dance at the Conservatoire Régional de Paris.
Emmanuel Resche-Caserta is a Franco-Italian baroque violinist. He is the concertmaster of the orchestra Les Arts Florissants. He studied with Enrico Onofri (Italy), in France, in Spain and at the Juilliard School (USA). With his ensemble EXIT, he has worked on Italian music from Southern Italy and Corelli’s sinfonias for open air concerts. Since 2022, Emmanuel teaches at the Conservatorium van Amsterdam.
Marie-Astrid Adam is an actress and stage director, trained at INSAS in Brussels, and formerly an assistant of Philippe Sireuil, at Théâtre Varia and Opéra Royal de la Monnaie. She stages plays for various companies and institutions, such as Opéra de Monte-Carlo, and creates contemporary performances or puppets plays (First rize - Festival of Marche-en-Famenne). She often collaborates with musicians and dancers, and has worked with Hubert Hazebroucq for more than twenty years.