NEW PRODUCTION OF THE FESTIVAL D’AIX-EN-PROVENCE
A COPRODUCTION WITH THÉÂTRE DE CAEN
Let us not weep for those who weep; it is pointless for everyone. Rather, let us explore the realm of possibilities— i.e., the chances for transformation or emancipation bound to all these figures in tears.Georges Didi-Huberman, Peuples en larmes, peuples en armes (2016)
What tides of fate have led Tancredi to a battlefield where he unknowingly affronts Clorinda, his true love, and eventually kills her? This improbable event that nonetheless occurs is known as a “black swan”: an inconceivable catastrophe to which a community must give meaning in order to surpass their tears and construct a brighter future on the ruins. With Il combattimento di Tancredi e Clorinda (“The Combat of Tancredi and Clorinda”), an incredible masterpiece of the baroque period, Monteverdi also seemed like an unexpected and highly prolific musical event. In Combattimento: The Black Swan Theory, conductor Sébastien Daucé and stage director Silvia Costa have imagined a symbolic journey through some of the most powerful emotions in Italian baroque music, including laments, madrigals, arias and instrumental pieces composed by Monteverdi, Rossi, Cavalli and their contemporaries during one of the heights of the era. For the audience, the emotional force provides an occasion for powerful catharsis.