Opéra Sans Diva
Absent is always wrong, the adage is well known. What is left of opera without its singers who carry it to the end of their voices? Everything! Because it is also the role of the orchestra to carry the music of the composer.
Whether the audience applauds or boos their performance, they often pay little attention to the libretto or even to the music.
We propose to repair this injustice and to rehabilitate all these beautiful and unheard melodies…
Example of a program:
Johann Strauss
Antonin Dvořák
Ruggero Leoncavallo
Nikolaï Rimsky Korsakov
Giuseppe Verdi
Jules Massenet
Amilcare Ponchielli
Károly Goldmark
Camille Saint-Saëns
Giacomo Puccini
Dmitri Shostakovich
Malinconia
With Malinconia, the quartet imagined that the great string quartet composers had modern clarinets. Would Mozart have continued to write for clarinet ensembles after his Adagio in B-flat major k411 for two clarinets and three basset horns? How would Beethoven have taken up clarinets if the bass clarinet had already existed?
Philippe Hersant
Ludwig van Beethoven
Fanny M
Spurred on by the creation of Alfred Bruneau’s Romance for clarinet quartet and by the creation of the Malinconia program, the Quartet continues its quest for history and roots. By drawing on the classical scores of the string quartet, the Quatuor Anches Hantées continues its immersion in the great repertoire of chamber music and explores the possibilities of its formation.
Richard Dubugnon
Fanny Mendelssohn
Strauss & co.
The influence of Strauss ? We know his waltzes, his polkas, his operettas, but what did he bequeath, apart from his work, of his creativity? Transmitted ? Initiated? Many of his contemporaries and many of his successors were fascinated by this outstanding melodist, admired him and were inspired by him. Brahms, Verdi, Richard Strauss but also Webern and Berg. Let’s try to link them together, let’s add Lehàr, Helmessberger, Lumbye and let’s try to make the Strauss imprint emerge from all these aesthetics.
Let us enter his dance, leave the orchestra pit and mix our bodies with those of the dancers, whether they are there or whether we imagine them, so that a choreography is born which tells us a story of Strauss, of his disciples, of those who have venerated him.
His music has taken dances from the suburbs of Vienna to the greatest courts of Europe. Here, four musicians accompanied or not by three dancers in a hip-hop, classical and contemporary ballet, question the permeability of genres.
Ma Mère l’Oye
What better than a story to gently introduce children to classical music?
Captivated by the tale, children discover the music of Ravel, Grieg, Debussy, Dubugnon, which add their evocative magic to the story… A wonderful adventure in the heart of fairy tales by four clarinets and a voice.
One night, a little girl who doesn’t want to sleep falls head first into her book, The Tales of Mother Goose. Fortunately, with her faithful teddy bear, grumpy but comforting! As the pages turn, she meets Sleeping Beauty, finds refuge in the Beast’s castle, meets Little Thumb and his brothers, and changes the course of their stories…
On a text by
All QAH concerts can be made accessible to the deaf and hard of hearing, with adapted vibratory systems.
Contact us for more information