A certain commotion rises from the sixth basement of the Opéra Bastille. At the beginning of November, the conductor Thomas Hengelbrock is invited for the first time to the rehearsals of
, an opera whose revival he is to conduct at the end of the month, at the Palais Garnier. For three weeks, the teams have been at work under the guidance of his assistant on the show: Inaki Encina Oyon. This first rehearsal in the presence of the conductor is therefore capital. In the ranks of the choir and the soloists, who work their entrances and their millimeter course in the scenography of Robert Carsen, the tension is palpable.
Straight like an "i" on his executive chair, Oyon gives the sign of departure to the pianist who will accompany the working session.
Sitting at the back, partition wide open on his knees, Hengelbrock notes every detail.
His hand discreetly but at regular intervals the beat of his double to ensure that the choices of tempi, dynamics or nuances correspond well to his
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