A traveling opera against homophobia in Lyon
Olivier Frégaville-Gratian d’Amore, L’œil d’olivier
A deeply moving show. Diana Soh and Richard Brunel break the codes of opera. A must-see!
Antonio Mafra, Le progrès
Richard Brunel’s intimate show touches the heart and freezes the blood. Stephan Zimmerli’s simple, light scenography allows the director to get to the heart of Zylan’s doubts and fears, and the violence he suffers at the hands of the inhuman executioners of blind, barbaric totalitarianism.
Olivier Frégaville-Gratian d’Amore, L’œil d’olivier
Based on a true story, composer Diana Soh and her librettist Yann Verburgh tell of the fate of LGBT people in countries where they are sent to re-education camps, tortured and murdered.
“Zylan ne chantera plus” breaks many operatic codes.
Antonio Mafra, Le progrès
Blending traditional instruments and more contemporary sound devices, drawing on the musicians’ virtuosity as much as their ingenuity, Diana Soh’s chiseled score serves as a showcase for the drama unfolding before our eyes, enveloping it and infusing it with unsettling emotions and painful stirrings. Nothing is left to chance, and everything contributes to making Zylan’s story our own, and the standard-bearer of a just cause.
Olivier Frégaville-Gratian d’Amore, L’œil d’olivier
Richard Brunel’s pure staging is based on a simple device: a cage open to the audience, whose tapering bars also serve the music. He can count on the commitment of tenor Benoît Rameau, who combines the beauty of his voice with a real talent for acting to translate Zylan’s martyrdom.
Antonio Mafra, Le progrès
Tenor Benoit Rameau’s portrayal of the hardy, pure-hearted pop singer is touchingly real. All his character’s distress can be read in his clear eyes.
Olivier Frégaville-Gratian d’Amore, L’œil d’olivier
This work, which is also aimed at teenage audiences, takes the gamble of raising awareness through distance and frontal moments, sparking reflection and debate.
Emmanuel Deroeux, Olyrix
The cellist Loris Sikora is perfect in his particularly delicate double-string interventions, percussionist Yi-Ping Yang is admirable when she multiplies herself in her large solo, and Maarten Stragier is impeccably solid on electric guitar.
Tristan Labouret, Bachtrack
Richard Brunel, accustomed to making works shine with few means and much inventiveness (we remember his production of Viktor Ullmann’s L’Empereur d’Atlantis) … A composer, a tenor with a name predestined for opera (Benoît Rameau), an electric guitar, a cello, percussion, and you get a “monodrama” like no other, a committed creation and the most exciting opera of the season.
Luc Hernandez, Exit mag
In the main role, Benoit Rameau is doubly deserving of acclaim. The singer, with his deeply inhabited gaze, carries the story without batting an eyelid. And if he never displays the full power of his voice, it’s all the better to deliver a sober and human interpretation, simply moving, that will undoubtedly touch the audiences for whom the work is intended.
Tristan Labouret, Bachtrack
Aimed at young people, those who don’t dare go to the opera, and those whose geographical distance keeps them away, this show leaves you stunned and groggy with its dramatic force and musical richness. A must-see.
Antonio Mafra, Le progrès
Zylan ne chantera plus
Diana Soh
Monodrama
Libretto by Yann Verburgh
World premiere
Music director Diana Soh
Director Richard Brunel
Set designer Stephane Zimmerli
Costume designer Mathieu Trappler
Lighting designer Victor Egéa
Dramaturg Youness Anzane
Artistic collaboration Catherine Ailloud-Nicolas
Director assistant Valérie Marinese-Barboza
Cast
Benoit Rameau (Vocals)
Marteen Stragier (Electric guitar)
Loris Sikora (Cello)
Yi-Ping Yang (Percussion)
Valérie Marinese-Barboza (Acting)
Executive production Cie Anonyme
Coproduced by Cité de la voix, Opéra de Lyon, Comédie de Valence CDN Drôme Ardèche
Musical commission Chant de Linos
With the support of Jean-François Dubos, William Kadouch-Chassaing, Emeric Languerand, Francis Laudette, Jean-Baptiste Massignon, Thomas Raoux-Cassin, Corinne Thouvenin and the Rothschild Foundation
Based on an idea by Benjamin Alunni and Richard Brunel
Administration, production Colin Pitrat – les indépendances
La Compagnie Anonyme is supported by DRAC Auvergne-Rhône-Alpes
Co-realization Théâtre du point du jour