Cultural Kiosk at UN Geneva & CERN

For the festive season, the Grand Théâtre is cooking up a feast! Fedora, Umberto Giordano’s exhilarating drama, shines an ardent spotlight on the art of Italian lyricism. On stage, the resplendent voices of the Alagna-Kurzak partnership set this Russian-accented thriller ablaze with a whirlwind of emotions. Gold and finery, suspense and passion, this is the year-end’s place to be!

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The great Finnish soprano Camilla Nylund is coming to waltz with us to celebrate the new year! On the occasion of the birth bicentenary of Johann Strauss the Younger, what better way to celebrate it and the year 2025 than with the charming and old-fashioned melodies of an imaginary Vienna which Strauss evokes in our ears? Come join the dance!

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Sultry and provocative, Salomé leads you into a sensual dance as corrupting as it is fascinating. Driven by her dark urges, Salomé transgresses ethics and the sacred. With her lethal obsession, Salomé’s unremitting message is of the destructive encounter between desire and power. Adapted from the play by Oscar Wilde, Richard Strauss’s opera unites these erotic tensions with an intense expressivity of groundbreaking musical modernity.

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‘Staggering’, ‘remarkable’, ‘incendiary’, this is how Aušrinė Stundytė is being described. The incredible Lithuanian soprano is at the Grand Théâtre this season with an out-of-the-ordinary recital built around Arnold Schoenberg’s monodrama, Erwartung (Expectation). Passing successively through a multitude of emotions, from jealous anguish to ultimate horror, until descent into madness, Erwartung will be presented in a semi-staged version perfectly suited to simultaneously deploying Aušrinė Stundytė’s powerful voice and extraordinary acting skills.

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A Dido and Aeneas that you’ve never seen or heard, other than on our screens during the pandemic! At the helm of this dance-opera, the famous Belgian company Peeping Tom employs all its habitual surrealist fantasy to unfold an alternative narrative to Henry Purcell’s work which plunges us into the vertigo of Dido’s psyche.

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A major figure in contemporary dance, Sasha Waltz continues to reflect upon utopias and flouted ideals in a choreography inspired by and dedicated to Ludwig van Beethoven’s Symphony No 7. Haunted by the composer’s disillusionment amid his growing deafness and the vanished promises of the revolution, the 7th symphony beats aptly with the quest for balance between individual freedom and social constraints.

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Khovantchina rings like a tragic prophecy of a Russia eternally torn between retreat and opening up. Confronting the power of some, the fanaticism of others, and the progressivism of the winners, the historical plot serves as a perfect backdrop for Modest Mussorgsky’s folk-redolent music.

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Don’t be late! The Adventures of Alice Under Ground sweeps you up in a whirlwind of wild events. In this new take on the books by Lewis Carroll, Irish composer Gerald Barry navigates with madcap energy between humour grotesque and fantastical, through an anarchic wonderland.

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Mirages passes through like a waking dream, moving and fluctuating in the manner of these fascinating phenomena. For this fourth collaboration, Damien Jalet and Kohei Nawa depict a humanity in search of meaning in this unpredictable, simultaneously hostile and lush nature. In perpetual metamorphosis, the performers transform, layer after layer, into an infinite variety of physical and emotional states.

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All the genius of the Italian prodigy Pergolesi is here magnified tenfold. While the talented Roman Castellucci’s symbolic interpretation exalts the celestial singing of Jakub Józef Orliński and Barbara Hannigan, the musical dramaturgy enhanced by the works of Giacinto Scelsi draws out the cry of this sublime pain as it rises.

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It’s in dialogue with George Butterworth’s cycle Six Songs from ‘A Shropshire Lad’ that German baritone Benjamin Appl, faithful to his musical curiosity, has built his recital centred around the figure of Gustav Mahler. From one side of the Styx to thew other, partnered at the piano by James Baillieu, this questioning, dramaturgical programme simultaneously expresses man’s finiteness and desire for transcendence.

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Fascinated by the legendary Japanese festival, Onbashira, Damien Jalet is inspired to bring mountain, Thr(o)ugh recalls the tree trunk upon which thousands of men ride down the steep Suma mountainside. In these two pieces, to ward off danger, the physical relationship to others is often the only comfort.

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The heroine of heroines sees double in this Geneva production casting a tender modern eye on an independent woman sacrificed to ‘what people will say’. Inspired by the novel by Alexandre Dumas fils, The Lady of the Camellias, La traviata combines the guilty pleasure of a melodramatic libretto with a skilfully orchestrated by Verdi, joyously theatrical music of formidable potency.

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