Our current productions

Amour, drame et trahison sous le soleil de Sicile, entre mélodies populaires et pièces des grands compositeurs du premier, Leonardo García Alarcón renoue, non sans délectation, avec l’art du pastiche.

Mariana Flores and Quito Gato guide us in this sweet, lighthearted exploration of popular South American songs. Thanks to the powerful energy of these two musicians, the audience is invited to daydream and discover a whole new palette of emotions that are at once contradictory and magnificent.

The St John Passion is an icon of Western music replete with drama and emotion. To celebrate the work’s 300th anniversary, choreographer Sasha Waltz, who is no stranger to choreographed operas, is staging a new version under the musical direction of Leonardo García Alarcón.

Did you like Il Diluvio universale? You’ll love Il Dono della vita eterna!

Since Cappella Mediterranea’s beginnings, few works have inspired such intense public emotion as the rediscovery of Diluvio Universale, a masterpiece by long-forgotten composer Michelangelo Falvetti (1642-1692). The incredible beauty of this music is bound to touch anyone who listens to it.

This resolutely contemporary work is a passion that combines ancient and modern instruments, a hymn that honours the beauty and knowledge of women.

Based on the myth of Orpheus’ attempt to rescue his wife Eurydice from the Underworld, L’Orfeo is a milestone in the history of music, marking the end of Renaissance music and the beginning of the Baroque period. Leonardo García Alarcón and Cappella Mediterranea brilliantly interpret this magnificent love song that is also a poetic and theatrical fable about the power of music.

The composer pushed the boundaries of form in ways that roused the emotions and anger of his contemporaries. In 2017, in celebration of his 450th birthday, we had the opportunity to explore his work and highlight the contemporary force of his musical language.

“Cappella Mediterranea does not fail to stand out in what may appear to be a primarily vocal work, reminding us that “Sonata sopra Sancta Maria” is also a brilliant instrumental work. Under Leonardo García Alarcón’s sometimes whimsical but always precise baton, the ensemble proves to be remarkably flexible, providing the ideal setting for the vocals”. – Forumopera

Chouchane Siranossian, invitée d’honneur des Festivals de Wallonie 2019, a retrouvé Leonardo García Alarcón en mai 2020 pour inaugurer après le premier confinement à Namur, ce programme autour du violon de Bach à l’Opéra de Dijon.

Leonardo García Alarcón entreprend de nous faire entendre ces pages festives issues d’un baroque témoignant de la rencontre féconde entre rythmes espagnols et couleurs amérindiennes.

Arcadelt a hérité à Namur de la technique des Franeco-flamans. À Florence, il a acquis l’élégance dans l’écriture musicale poétique, à Rome le contrepoint somptueux des grands espaces et à Paros les échos de la danse, de la musique de cour et de la chanson.

Leonardo García Alarcón nous fait redécouvrir le drame antique composé par Monteverdi ! Face à la rencontre progressive du tragique, les sentiments se bousculent chez le spectateur tout autant horrifié par l’histoire qu’émerveillé par la musique.