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    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

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  • Research

    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

    • Research Topics
    • The STMS Lab
    • Research Teams
    • Sound Systems and Signals: Audio/Acoustics, InstruMents
    • Acoustic and Cognitive Spaces
    • Sound Perception and Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Finished Projects
    • Musique/Sciences Collection
  • Creation

    IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

    • Composers & Artists in Studio
    • Vimala Pons in studio
    • "I am in blood" for Sixteen Musicians and Live Electronics
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • "Transfer" for 10 Musicians and Electronics
    • L'Annonce faite à Marie
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2022.23
    • Replay: 2022.23 Concerts
    • Seasons from 1996 to present
    • ManiFeste-2023 Website
    • ManiFeste festival from 2012 to 2023
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In support of IRCAM's research and creation missions, the educational program seeks to shed light on the current and future meaning of the interactions among the arts, sciences, and technology as well as sharing its models of knowledge, know-how, and innovations with the widest possible audience.

    • 2023.24 Training Courses
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • Sound spatialization
    • Other training programs
    • Practical Information
    • Advanced Programs
    • Cursus Program on Composition and Computer Music
    • Supersonic Chair
    • Master ATIAM
    • Sound Design Master's Program
    • Music Doctorate
    • AIMove Master
    • School Programs
    • Studios of Creation
    • Mixed-Music
    • Artistic and Cultural Education
    • Career Discovery Visit
    • Images of a Work Collection
    • ManiFeste-2022, the Academy
  • Innovations

    At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

    • The IRCAM Forum
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  • L'Annonce faite à Marie








Sun 9 October 2022,
4 p.m., Tue 11 October 2022,
8 p.m., Thu 13 October 2022,
8 p.m., Fri 14 October 2022,
8 p.m.
Théâtre Graslin
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Creation
Opera






L'Annonce faite à Marie

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"L'annonce faite à Marie is a text that is both carnal and spiritual. Claudel's writing, extraordinarily accurate, both when he speaks of love and metaphysics, is similar to my work, which seeks a balance between the corporality of sound and abstract constructions." "I wanted to get closer to the famous 'opera of words', as Paul Claudel himself put it (using Claudelian free verse), by composing an opera that is both dramatic and poetic. The vocal writing oscillates between musical passages where the text is sung in a perfectly comprehensible way, and narrations which offer a 'floating' listening, proposing the listener to freely associate the words with one another. In the moments of declamation, the text is recited with a musical texture made of a synthesis of Claudel's voice, realized at IRCAM by a synthesis system using neural networks. The idea is to stage the author himself musically, as if he were dreaming, writing his text, reciting it to himself, or guiding us in our listening."
(Philippe Leroux.)

Opera in French in 4 acts, prologe by Philippe Leroux, based on the eponymous play by Paul Claudel – Premiere 2022
Philippe Leroux music
Commissioned by Angers Nantes Opéra
Célie Pauthe set design
Solène Souriau assistant set design
Guillaume Delaveau scenography
Anaïs Romand costumes
Sébastien Michaud lighting
François Weber images
Denis Loubaton dramaturgy
Raphaèle Fleury libretto, based on the works of Paul Claudel
Carlo Laurenzi IRCAM electronics
Clément Cerles IRCAM sound diffusion

 

Ensemble Cairn
Guillaume Bourgogne musical directon

Raphaële Kennedy (Violaine Vercors) soprano
Sophia Burgos (Mara Vercors) mezzo-soprano
Els Jannssens Vanmunster (Elisabeth Vercors) mezzo-soprano
Marc Scoffoni (Anne Vercors) baryton
Charles Rice (Jacques Hury) baryton
Vincent Bouchot (Pierre de Craon) tenor

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  • https://www.angers-nantes-opera.com/l-annonce-faite-a-marie
An Angers Nantes Opéra, Opéra de Rennes, IRCAM-Centre Pompidou coproduciton | With the support of the Fonds de premiere lyrique (SACD)
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