A CONCERT OTHERWISE: JEAN MARC SALZMANN BARYTON ET PIERRE CUSSAC ACCORDEON

 

Born in 1829 in the midst of musical romanticism, the accordion was quick to become mandatory for all fashionable tunes that were reverberating in the salons of bourgeoisie and aristocracy. Some even claim that Empress consort Eugénie, wife of Napoleon III of France, was a fan and player of the instrument.

Long before becoming a symbolic fixture of the bal- musette, the accordion accompanied all musical genres of the era in the most diverse of locations. Today, it has come to hold a prominent place in the world of music. From classical to popular, spanning all world music, along with the most avant- garde creations and all sorts of jazz styles, the accordion is both present and entrancing. It was very tempting

to have it relive the great adventure of opera music.

This project saw the light when two musical generations met through the passions that they shared, the passion to coalesce two musical worlds that we are no longer used to witness united: a lyric voice and an accordion!

Destined to frequent places that are not accustomed to experience a 'classical' or 'lyric' voice, this peculiar 'Schubertiade' imagines itself familiar, inspiring exchange, intimacy and discovery.

These places span a wide spectrum covering anything from opera houses, national theaters, public theaters, regional theaters, any location in need of an initiation to Lyric Art, and the most diverse of locales such as churches, apartments, private homes, museums, restaurants, cafés, nursing homes, public spaces, hospitals, prisons...

With its ties to theater and opera programming, this project can provide support to public development policies.

 

The following is a non-exhaustive listing of the diversity of the project ranging from classical opera and operetta, to musical

comedy and chanson music. The program can be supported by texts and can last anywhere  between  45'  and  1h15’,  subject  to location and  demand.

 

Classical Repertoire:

.Bizet:Carmen: Air d’Escamillo

.Berlioz: La Damnation de Faust: Air de Méphisto «Voici des roses»

.Donizetti:Don Pasquale:Air de Malatesta «Bella sicome un angelo»

.Massenet: Chérubin: Air du Philosophe: «Petit, le mal qui te dévore...»

.Massenet: Thaïs: Air d’Athanael: «Voici donc la terrible cité!»

.Mozart: Don Giovanni: Sérénade «Deh! vieni alla finestra!»

.Offenbach:Les Contes d’Hoffmann: Air de Dappertutto: «Scintille  diamant...»

.Verdi: Don Carlo: Air de Posa version originale en français: «C’est moi Carlos...»

.Wagner: Rheingold: Air d’Alberich:«Bin ich nun frei?»

.Wagner: Tannhäuser: Air de Wolfram: Romance à l’étoile.

 

Operettas, Musicals, Melodies and songs:

.Bernstein: West Side Story. Air de Tony.

.Christiné: Phiphi: Air de Phidias.

.Duparc: L’invitation au voyage.

.Leigh:  L’homme de la Mancha: La Quête. (version Jacques Brel)

.Lehar: La Veuve Joyeuse: Air de Danilo.

.Offenbach: La Vie Parisienne: Air du Baron.

 

Accordéon solo, transcriptions:

.Bach: Nun komm der Heiden Heiland

.Rameau: Suites: Les  Sauvages, L’Enharmonique, L’Egyptienne

.Tchaïkovski: Romance

.Wagner: Chœur des Pèlerins de Tannhäuser