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Cédric Klapisch: "I have always been fascinated by the meeting of the arts"

2023-03-31T08:37:51.404Z


INTERVIEW – The filmmaker will stage, in November, The Magic Flute, in the company of conductor François-Xavier Roth. He evokes this first pas de deux with lyrical art.


LE FIGARO.

- What does the lyrical world represent for you?

Cedric KLAPISCH.

-

Without being a specialist, I regularly go to the Opera.

I have always been passionate about bringing the arts together.

And I like the spectacular side of lyrical art.

Michel Franck's initial proposal looked more towards

La Bohème

, which corresponded quite well to my cinema, which was very Paris-oriented.

But no music moves me more than that of Mozart.

Apart from Bach, perhaps.

So I said to myself, even if it means spending several years working on an opera and walking with it, it was probably better for it to be one of his!

Why

The Magic Flute

?

Of all the Mozarts, he is undoubtedly the furthest from a certain form of naturalism with which my cinema is sometimes associated.

A very phantasmagoric piece, but at the same time more complex than it seems.

With many possible reading grids.

I asked myself a lot of questions to know which way to take it.

I didn't want to approach it through the hackneyed prism of Freemasonry.

Even less to erase the enchanted side which makes the salt of this work.

But this wonder should not prevent us from being contemporary.

Especially at the Opera, which may already have a somewhat outdated image.

Read alsoCédric Klapisch will stage Mozart's Magic Flute, his first opera, at the TCE

The filmmaker that you are apprehensive of working with singers?

It's not the fact of working with singers that I dread, but the relationship to the stage, which is new to me.

I've never done a theater production!

The further I go, the more I realize how different the world of opera, and performing arts in general, is in terms of work from that of cinema.

Both in terms of space, since you have to deal with the closed space of the stage, and temporality.

On a film set, the filming phases are extremely fragmented.

At the Opera, there is a fluidity to which I am hardly accustomed.

It's like a continuous take.

And, at the same time, I find it wildly exciting: I've always been very eclectic, I love confronting new worlds.

As I was able to do with dance in the film

En corps

and especially fifteen years ago when I filmed

Le Parc

de Preljocaj.

Moreover, for the

 Flute

, I decided to use very little video, with the exception of a single passage, which will be a kind of surreal tribute to Pina Bausch and her

Kontakthof

!

Source: lefigaro

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