Stephane Denève

Firmly established as one of the world's greatest violinists, Renaud Capucon's career both on the stage and as a recording artist has spanned a wide gamut of concerto repertoire, chamber music and recitals. He has a reputation for impeccable performances and fine interpretations of classics and lesser-known repertoire, from his most recent albums with critically-acclaimed readings of the Bach Violin Concertos and the Vasks Violin Concerto, and a recital disc with Khatia Buniatishvili, to the Beethoven / Korngold and Brahms/Berg concertos, Renaud has become known for the breadth of his repertoire, his world-class chamber music partners, and the quality of is playing.

Jeanne d'Arc au bûcher is one of the most inventive oratorios ever composed, constantly flitting between styles and colours. It follows the historic French heroine in the hours leading up to her execution. Indeed, the run-up to her death sentence is reconstructed as if in a crime novel. Paul Claudel's lively libretto contrasts Jeanne with an assorted lot of strange and wonderful characters. More than enough reason for Honegger to open up a colourful paintbox: the work features a succession of choral passages infused with spirituality, cubist-like blocks of sound and even bits of material reminiscent of the music hall. This is grist to conductor Stéphane Denève's mill, who is a leading authority on French music and a regular guest with the Royal Concertgebouw Orchestra; together with two choirs and a variety of soloists and actors, he realized a compelling and moving Jeanne d'Arc au bûcher.

Cellist Camille Thomas’ program of beautiful cello arrangements invites us to find hope amid uncertainty, to see light in the darkness. From Purcell’s grief-stricken “When I Am Laid in Earth” to Bruch’s yearning “Kol Nidrei” and Dvořák’s nostalgic “Songs My Mother Taught Me,” Thomas finds beauty deep within pain. But in Donizetti, she celebrates the power of love, in Wagner gentleness, and in Mozart steadfastness. Fazil Say’s 2017 Concerto for Cello and Orchestra, “Never Give Up”, a musical response to the terrorist attacks in Paris and Istanbul, is searing and often upsetting, cello flowing like tears, orchestra twisted, demented. Birds bring peace, at last, to a modern masterpiece that confronts anguish and distress with strength and optimism.

Prokofiev's enchantingly surreal commedia dell'arte masterwork is turned into a spectacular triumph of total theatre in this vital production from the Amsterdam Muziektheater. De Nederlandse Opera has chosen to use the more flexible French libretto of the 1921 premiere, a pertinent choice which has the advantage of accentuating the aesthetic common ground shared by Prokofiev and Les Six. Stéphane Denève's brilliant musical direction inspires outstanding performances from the soloists and the superb Rotterdam Philharmonic Orchestra, enhanced by the smart, blockbusting staging of Laurent Pelly and the exquisite sets of Chantal Thomas, which propel this feverish fable to great heights.

Dukas’ opera Ariane et Barbe-bleue, based on Maeterlinck’s symbolist version of the classic tale, sees free spirit Ariane become the sixth wife of the infamous Barbe-bleue, who gives his new bride seven keys to seven doors, but prohibits the use of the last. Ariane discovers an array of glittering jewels behind the first six doors, but a terrifying reality awaits her as she unlocks the seventh. José van Dam is cast as the villainous Barbe-bleue, while taking on the immensely demanding role of Ariane - who does not leave the stage throughout the entire opera - is American soprano Jeanne-Michèle Charbonnet.