She is an unidentified musical object.
Violinist Patricia Kopatchinskaja is one of the most unique figures of the classical landscape.
And not just because she plays barefoot, a choice she made after forgetting her stage shoes and finding that she liked to feel the vibrations of the orchestra in her feet.
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Born in Moldova in 1977, she left this former satellite of the USSR, dominated sometimes by the Romanians, sometimes by the Russians, as soon as the borders opened following the fall of the Iron Curtain in 1990. Installed in Vienna for ten years ago, then to Bern, the adopted Swiss woman regularly returns with the Swiss NGO Terre des hommes to her native country, one of the poorest in Europe.
But it is especially by its deep musical originality that it strikes.
The one who likes to compare herself to a child who constantly invents new games with the same toys, assimilates classical music to a laboratory and her career as a performer to that of
Alice in Wonderland
.
Like a real tightrope walker, she pushes the music to its ultimate expressive limits
She revisits the best-known scores with an ever-changing perspective, and to those who say they are jostled by her radical interpretation of
Beethoven's Kreutzer Sonata
, she cites in return this criticism of 1805 which described the work as
"aesthetic and terrorism. musical".
Like a real tightrope walker, she pushes the music to its ultimate expressive limits, as if, once and for all, she had declared war on lukewarmness.
July 5 at 9:30 p.m. at the Hotel Maynier d'Oppède. July 12 at 8 p.m. at the Théâtre du Jeu de Paume.