Mozart’s ultimate masterpiece, his Requiem, was left unfinished. This lack of completion is precisely what Yoann Bourgeois is interested in. Working alongside conductor Laurence Equilbey, the choreographer explores emptiness and suspension, using only the fragments written by Mozart himself. Acrobats dancing on high walls, choir set on a revolving stage and falling bodies create spectacular images that shed an unusual light on Mozart’s musical testament.

Photo: Arthur Weidmann

Mozart’s ultimate masterpiece, his Requiem, was left unfinished. This lack of completion is precisely what Yoann Bourgeois is interested in. Working alongside conductor Laurence Equilbey, the choreographer explores emptiness and suspension, using only the fragments written by Mozart himself. Acrobats dancing on high walls, choir set on a revolving stage and falling bodies create spectacular images that shed an unusual light on Mozart’s musical testament.

Photo: Arthur Weidmann

Mozart’s ultimate masterpiece, his Requiem, was left unfinished. This lack of completion is precisely what Yoann Bourgeois is interested in. Working alongside conductor Laurence Equilbey, the choreographer explores emptiness and suspension, using only the fragments written by Mozart himself. Acrobats dancing on high walls, choir set on a revolving stage and falling bodies create spectacular images that shed an unusual light on Mozart’s musical testament.

Photo: Arthur Weidmann

Mozart’s ultimate masterpiece, his Requiem, was left unfinished. This lack of completion is precisely what Yoann Bourgeois is interested in. Working alongside conductor Laurence Equilbey, the choreographer explores emptiness and suspension, using only the fragments written by Mozart himself. Acrobats dancing on high walls, choir set on a revolving stage and falling bodies create spectacular images that shed an unusual light on Mozart’s musical testament.

Photo: Arthur Weidmann

Mozart’s ultimate masterpiece, his Requiem, was left unfinished. This lack of completion is precisely what Yoann Bourgeois is interested in. Working alongside conductor Laurence Equilbey, the choreographer explores emptiness and suspension, using only the fragments written by Mozart himself. Acrobats dancing on high walls, choir set on a revolving stage and falling bodies create spectacular images that shed an unusual light on Mozart’s musical testament.

Photo: Arthur Weidmann

Mozart’s ultimate masterpiece, his Requiem, was left unfinished. This lack of completion is precisely what Yoann Bourgeois is interested in. Working alongside conductor Laurence Equilbey, the choreographer explores emptiness and suspension, using only the fragments written by Mozart himself. Acrobats dancing on high walls, choir set on a revolving stage and falling bodies create spectacular images that shed an unusual light on Mozart’s musical testament.

Photo: Arthur Weidmann

Mozart’s ultimate masterpiece, his Requiem, was left unfinished. This lack of completion is precisely what Yoann Bourgeois is interested in. Working alongside conductor Laurence Equilbey, the choreographer explores emptiness and suspension, using only the fragments written by Mozart himself. Acrobats dancing on high walls, choir set on a revolving stage and falling bodies create spectacular images that shed an unusual light on Mozart’s musical testament.

Photo: Arthur Weidmann

Pièces de Fauré, Bizet, Gounod, Viardot, Chopin

Jean Manifacier, comédien

Naaman Sluchin, violon

Aline Bartissol et Eloy Orzaiz, piano

Insula orchestra
Accentus
Laurence Equilbey, direction

Sandrine Piau, soprano
Jakub Józef Orliński, contre-ténor
Stuart Jackson, ténor
Alex Rosen, basse

Francesco Romano, guitares romantique

Clara Hugo, soprano

Eloy Orzaiz, pianofortes Erard 1806 et Rosenberger 1825