A CONCERT OTHERWISE: JEAN MARC SALZMANN BARITONE AND  PIERRE CUSSAC ACCORDION

 

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 Eugenie, 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-  keep  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  premises such as churches, apartments, private homes, museums, restaurants, cafes, 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 song music. The program can be supported by texts and can last  anywhere  between  45'  and  1h15',  subject  to location and  ask.

 

Classical Repertoire:

.Bizet:Carmen: Air d'Escamillo

.Berlioz: La Damnation de Faust: Aria by Mephisto “Here are roses”

.Donizetti:Don Pasquale:Aria de Malatesta “Bella sicome un angelo”

.Massenet: Chérubin: Air of the Philosopher: "Little one, the evil that devours you..."

.Massenet: Thaïs: Air of Athanael: "So here is the terrible city!"

.Mozart: Don Giovanni: Serenade “Deh! come go finestra!”

.Offenbach:The Tales of Hoffmann: Aria from Dappertutto: “Sparkles  diamond..."

.Verdi: Don Carlo: Air de Posa original version in French: “C'est moi Carlos...”

.Wagner: Rheingold: Air from Alberich: “Bin ich nun frei?”

.Wagner: Tannhäuser: Air from Wolfram: Romance to the star.

 

Operettas, Musicals, Melodies and Songs:

.Bernstein: West Side Story. Tony's tune.

.Christine:  Phiphi: Air of  Phidias.

.Duparc: The invitation to travel.

.Leigh:  The Man of La Mancha: The Quest. (Jacques Brel version)

.Lehar: The Merry Widow: Air by Danilo.

.Offenbach: La Vie Parisienne: Air du Baron.

 

Accordion solo, transcriptions:

.Bach: Nun komm der Heiden  Heiland

.Branch:  Suites: The  Savages, The Enharmonic, The Egyptian

.Tchaikovsky: Romance

.Wagner: Tannhäuser Pilgrims' Chorus