Sacre de Louis XIV by Ensemble Correspondaces

After a childhood marked by the death of his father, the political troubles of the kingdom, the authority of his Spanish mother, the paternal presence of an Italian minister worthy heir of Machiavelli, but also hunger, cold and civil war, June 7, 1654 Louis Dieudonné de Bourbon is crowned king of France in the cathedral of Reims. Reims becomes for a few days the center of the kingdom that is rebuilt around the young king of 16 years.

The ceremonial is impressive as a theatrical performance: the cathedral of Reims is decorated with tapestries, carpets, tribunes, and a throne on the rood screen; all the great men of the French kingdom, but also the sovereigns of Europe are present.

Following a solemn ceremony and a glorious entry into the city, this sixteen-year-old boy is to become the Sun King. We do not know exactly what music was heard at the ceremony, but with the precious help of the musicologist Thomas Leconte, Sébastien Daucé & Ensemble Correspondances have trace through a meticulous investigation a large number of clues. On the basis of testimonies, song texts, liturgies, coronation traditions, archival research and music sources, they present their version of the strictly codified soundtrack that accompanies the Sun King to the throne. His retinue includes iconic French masters such as Étienne Moulinié and Charles d’Helfer, but also international heroes including Orlandus Lassus and Francesco Cavalli. From the joyous entry, to the cathedral ceremony and the handing over of the regalia, the musicians accompany Louis until the Vivat rex! resounds; opening the ears of the music lover of the 21st century to the treasures of polyphonies of the past.

With the support of the Centre National de la Musique.

WITH: dessus: Caroline Weynants, Caroline Bardot, Maud Haering, Perrine Devillers, Eva Plouvier 
bas-dessus/haute-contre: Joséphine Geoffray, Daniel Brant, Vojtech Semerad, Blandine de Sansal 
taille: René Ramos Premier, Randol Rodriguez, Jordan Mouaïssia 
bassus: Thierry Cartier, François Joron, Vlad Crosman, Renaud Bres, Maxime Saïu, Guillaume Olry 

flute: Lucile Perret, Matthieu Bertaud 
oboe: Johanne Maitre, Adrien Reboisson, Krzysztof Lewandowski 
violin: Béatrice Linon, NN, Paul Monteiro, Birgit Goris, Sayaka Shinoda, Christophe Mourault, Matilde Pais, Xavier Sichel, Samuel Hengebaert, Kate Goodbehere 
viola da gamba: Mathilde Vialle, Louise Bouedo, Mathias Ferré 
double bass: François Gallon, Hager Hanana, Camille Dupont 
violone: Etienne Floutier 

cornetto: Benoît Tainturier, Emmanuel Mure
sackbut: Alexis Lahens, Abel Rohrbach 
serpent: Patrick Wibart 
bassoon: Isaure Lavergne

theorbo: Thibaut Roussel
harpsichord: Marie Van Rhijn 
organ: Mathieu Valfré 
percussion: Pere Olivé 

musical direction: Sébastien Daucé 

staging, choreography: Rosabel Huguet, Flora Gaudin 


Köllner Philharmonie

Festival Oude Muziek Utrecht

Chapelle Royale de Versailles


Kultur West


Kölnische Rundschau


El Pais

Requiem Humain, Brahms | Pygmalion & Raphaël Pichon

Ein deutsches Requiem, Op. 45, Johannes Brahms

*Version for soloists, choir & piano

Between the mourning of his friend Schumann and the imminent one of his mother, Brahms composes his German requiem going beyond the religious dimension to address humanity as a whole.
This work carries with it the heritage of the ancient alchemists of the appeasement of souls (Bach, Schütz). This “human” requiem offers itself as an immense consolation, a true promise of light after pain.

Pygmalion takes over this choral monument in an immersive and interactive version imagined by Jochen Sandig. Created in Berlin in 2012 as a scenic object where the border between the audience and the performers blurs for the benefit of the community, this creation is here redesigned and adapted for the huge concrete vessel that is the Submarine Base.

In this place, the Requiem is more akin than ever to an immersion in the depths of human hearts.

Human Requiem, Brahms

Pygmalion & Raphaël Pichon

Scenic creation – ambulatory concert

Jochen Sandig, concept and direction
Jörg Bittner, light creation
Rosabel Huguet Dueñas, assistant director

Davide Camplani & Martha Hincapié assistant choreography

Sabine Devieilhe, soprano
Konstantin Krimmel, baritone
Tanguy de Williencourt, piano
Pygmalion, choir

Raphaël Pichon, conductor

Creation of Rundfunkchor Berlin – Radialsystem Berlin – 2012

Sasha Waltz & Guests

Show created thanks to the generous support of Ms. Aline Foriel-Destezet, Grand Patron of the Pulsations Festival

Dates: July 15, 16, 17 & 18, 2021 – 10 p.m at Les Bassins de Lumières – Bordeaux


Photos by Fred Mortagne

Press reviews

Hoffnung I: Das menschliche Antlitz | Vocalconsort Berlin & Marcus Creed

The spatialized concert forms part of the series “Principle of Hope”, marking the 15th anniversary of Vocalconsort Berlin. It takes place at the Parochialkirche (Klosterstraße 67, 10179 Berlin).

Camille Saint-Saëns (1835-1921): Calme de nuits (1882)
György Ligeti (1923-2006): Lux Aeterna (1966)
Richard Wagner (1813-1883)/Clytus Gottwald (*1925): Im Treibhaus (1857/2004)
Pēteris Vasks (*1946): Ziles Zina (1981)
Francis Poulenc (1899-1963): Figure Humaine (1943)

An act of resistance and a sign of hope: while France was under German occupation, Francis Poulenc composed “Figure Humaine”. The cantata for two choirs and twelve voices is based on the poems that Paul Eluard wrote in hiding. By confronting the terror of war and oppression, this composition amounts to an evocative hymn for liberty. Poulenc wanted it to ring out at the exact moment of liberation. As it happened, “Figure Humaine” ended up premiering on the BBC in 1945. Fear, despair, hope – this choral work pulls out all the stops and culminates in a cry for freedom: “I was born to know you, to name you – Liberté”.

There’s a mocking aphorism that states “Hope is the last thing to die, but it dies”. Has hope died out in the face of climate change, nuclear threats and catastrophes, war and hunger? To mark their 15th anniversary, one of Germany’s best chamber choirs, Vocalconsort Berlin, will aim to usher hope back into the limelight in a five-part concert series. It’s a cycle of musical contemplations on the nurturing and the abandonment of hope under different circumstances: from Francis Poulenc’s 1943 anthem of liberty that he composed in France under occupation, to J. S. Bach’s St John Passion. Thus, a musical dialogue emerges. One between the secular and the divine, between the engine of survival that is human hope and the Passion of Christ and its readings – a symbol for the religious well of hope. From Baroque to New Music, from concerts to stage productions – Vocalconsort’s got it all.

The concert-series is funded by the Capital Cultural Fund an the Berlin Senate Department for Cultur and Europe. In cooperation with Radialsystem and Sasha Waltz & Guests.


with: Vocalconsort Berlin

Conduction: Marcus Creed

Scenic & spatial arrangements: Jochen Sandig

Assistance: Rosabel Huguet

Light: Arnaud Poumarat


More info HERE


PhotoS by Florian Schmitt




Playing Mozart

Unravelling the art of playfulness

Pianist Daria van den Bercken, along with the famous French pianist Frank Braley and the newly P.C. Hooft Prize winner Bas Heijne presents “Playing Mozart”. A concert evening full of contrasts, between the composer and his works, between talk and play, between movement and stillness. A dance for two grand pianos and the screening of Daria’s latest experiments. The program includes as well a world premiere, the new variations of Soler’s Fandango composed by David Dramm.

Daria van den Bercken piano
Frank Braley piano
Bas Heijne speech
Rosabel Huguet mise en espace

25th of January 2017 at Muziekgebouw aan ’t IJ, Amsterdam

 More info HERE!!

Organized by Stichting KAMermuziek Amsterdam more info!





piano dance


Spicy Classics | philharmonie zuidnederland

The next edition of Spicy Classics features Music & Talks: How can Mozart still be inspiring in our modern day and age? Pianist Daria van den Bercken’s project Keys on Mozart is a cross-over between music by Mozart, contemporary compositions by David Dramm and a mise-en-space by Rosabel Huguet. An evening conducted by Jonathon Heyward that promises to be hard to forget.


Maastricht | Muziekgieterij | 12th October 2016 | 20:30h | web

Eindhoven | Strijp S, Klokgebouw | 13th October 2016 | 20:30h | Web

Spicy Classics Music & Talks is a coproduction between philharmonie zuidnederland and Keys to Music Fundation

Evening Program

David Dramm
Walking Through Rameau

Rameau/ Dramm
Les Boréades – Acte 5: Prélude 

Pianoconcert No 17, K. 453, G gr
Part 1: Allegro (Candens David Dramm)

Poulenc Flute Sonata:
Part 1: Allegretto Malincolico

7am Menuet


Les fêtes de Hébé – Act 3: Musette  Les Boréades – Acte 1: Contredanse

Pianoconcert No 17:
Part 2: Andante (Extended cadens David Dramm)
Part 3: Allegro Presto

More information HERE



“I love Schubert” with Rosanne Philippens & friends

“My aim in concert is to create feelings of belonging” Rosanne Philippens.

She present a full evening based Schubert, the intimacy of his melody, the focus on making music together. With dear colleagues, as bassist Rick Stotijn and pianist Julien Quentin, Philippens explains the Schubert phenomenon in three chamber music masterpieces including the famous Trout Quintet.
Since Rosanne Philippens won the National Violin Competition Oskar Back in 2009,
her career did not stop growing and she is mentioned in the same breath as Dutch flagships Janine Jansen, Liza Ferschtman and Simone Lamsma. Regarding chamber music, she focuses each year on a different composer. This time she professes her love for Schubert.

I had the pleasure to choreograph a dance duet for her interpretation of Schubert’s stunning “Fantasie for violin and piano” focusing on the intimacy of the conversation between both instruments, vibration, resonance and the wide range their atmospheres.

Wondering If all of it is endlessly captured, accumulated on the primary relationship between the violin strings and the bow.

Rosanne Philippens violin
Vladimir Percevic
Ella van Poucke
Rick Stotijn
Julien Quentin

Vera Goetzee & Anni Kaila dance

Rosabel Huguet choreography

28th of September 2016 at the Muziekgebouw aan’t IJ, Amsterdam

More info HERE




The Pocket Passions

Concert The Pocket Passions: from love song to love song

A program with four composers from four different periods that link their work to the time around Easter. Four musical visions as evangelists in a choreographed mise-en-scene: from medieval through classical and Gregorian improvisation to neo-romantic. One of the higlights is the world premiere of Oh My Boy by composer and lyricist Pim Moorer, a modern love song as a contemporary version of the Baroque Stabat Mater.

This contrasts with Beethoven’s monumental Heiliger Dankgesang, which he composed in gratitude for his recovery after a prolonged period of illness. In The Pocket Passions the musicians play with space and movement, they take the audience along in a procession with light, music, gestures & affections. Rosabel Huguet creates a subtle choreography, secret dances, gestures and actions of the musicians on stage to bring them closer than ever.

Michaela Riener, soprano
Erik Bosgraaf, recorder
Dudok Quartet
Judith van Driel, violin
Marleen Wester, violin
Lotte de Vries, viola
David Faber, cello
Rosabel Huguet, mise-en-espace

Dates 2016/

25th March –  Kasteel Nyenrode (NL)

27th March –  TivoliVredenburg, Utrecht (NL)

28th March –  Muziekgebouw aan ‘t IJ, Amsterdam (NL)

Produced by the Stichting KAMermuziek Amsterdam 10696204_849522751746934_3169382147210655716_n


Teodor Currentzis & MusicAeterna
Tanz    Sasha Waltz & Guests
Teodor Currentzi is currently amongst the most exciting young directors worldwide. Following his first sold-out concert in March 2015, he is back as a guest at RADIALSYSTEM V with his Ensemble MusicAeterna from the Siberian city Perm. In a Radiale Nacht the Ensemble will play symphonic pieces by Beethoven and Mozart, throughout the Grand Hall and the Main Room, while in the Studio chamber music can be listened to in a chilled-out, relaxed atmosphere. Complimented by an artistic narrative by dancers from the Sasha Waltz & Guests dance company, an extraordinary concert evening is created through the use of light and space and through music from classical to modern – the audience wanders through the rooms, listens and builds their own personal concert program.


Saturday 16.01.2016 at 19:00h / RADIALSYSTEM V, BERLIN


Eine Veranstaltung von Andreas Richter Cultural Consulting, RADIALSYSTEM V und Sasha Waltz & Guests, mit freundlicher Unterstützung der Aventis Foundation und der Radial Stiftung.
Photos by Roger Rossell

LIBERTÉ / Rundfunkchor Berlin

10 Years of “Broadening in Concert”

Choral music offers unsuspected and fascinating possibilities. For the last ten years the series “Broadening in Concert” has been impressively demonstrating just that. Since 2005, Rundfunkchor Berlin has repeatedly and regularly succeeded in attracting innovative minds from diverse artistic genres to collaborate on these theatrical concert projects.

Following the success of the continuously sold-out human requiem (latest revival: March in Berlin) and of the music-dance theatre piece LOVER (Asia tour in spring 2016), Rundfunkchor Berlin has organized an anniversary programme bringing together performers and directors who have played a major role in this series over the past decade: documentary-theatre director Hans-Werner Kroesinger (Passionsbericht des Matthäus) and theatrical impresario Jochen Sandig (human requiem).

The five works that have occupied the chorus’s two partners span the years from 20th-century works by Poulenc and Pepping to contemporary compositions by Christian Jost and David Lang. They all deal in one form or another with the subject of freedom, recalling the end of World War II and the fall of the Berlin Wall, 70 and 25 years ago, respectively. For this occasion, the international organ star Cameron Carpenter has been engaged to create and perform in a transcription of Poulenc’s Stabat Mater for chorus and organ. Sharing podium duties for the series with Rundfunkchor Berlin’s principal conductor Simon Halsey and its principal conductor designate Gijs Leenaars (who takes up his post next season) will be Nicolas Fink and Risto Joost, two of the most promising representatives of the new generation of choral directors.

Serving as prelude to Rundfunkchor Berlin’s anniversary weekend celebration will be the Schola Concert in which scholars of the chorus’s Academy and students from the Hanns Eisler Hochschule für Musik are conducted by Nicolas Fink, who founded the Schola in spring 2014.


Saturday, 30. May 2015

Funkhaus Berlin – Nalepastraße


Konzerteinführung: 15:30 / 18:30 Uhr

Iwona Sobotka – Sopran
Barbara Kind – Sopran | Sabine Puhlmann – Sopran | Bianca Reim – Sopran
Christine Lichtenberg – Alt | Bettina Pieck – Alt | Judith Simonis – Alt
Cameron Carpenter – Orgel
Schnitzler Quartett
Rundfunkchor Berlin
Nicolas Fink | Simon Halsey | Risto Joost | Gijs Leenaars – Dirigenten

Hans-Werner Kroesinger | Jochen Sandig – Regie

Rosabel Huguet – Assistance Choreographie
In Kooperation mit Sasha Waltz & Guest


Kombitickets: € 49,– / erm. 25,–
(Ermäßigung für SchülerInnen und Studierende bis zum 27. Lebensjahr)
Tel. (030) 20 29 87 22 |


Photos by Roger Rossell