(*) This sign indicates any more playable works or only with difficulty or which are no more advisable or should have a rest. (Brunhild Meyer-Ferrari)



(*) Le Freischütz -Die Wolfsschlucht  (October 1989 – January 1990) — 20′

On three tape recorders

Premiered : Bayrische Staatsoper, Munich (February 21, 1990)

«One day, a conductor and a playwriter come to see me and say: We will give for the Opera of Munich, a new fabulous version of Freischütz of Carl-Maria von Weber.  However, it is that there is one part that this composer could not compose because he did not have the technical means for that. Do you want to compose it?  Weber had indeed described very precisely the noises of a forest traversed of more or less mythical animals and mysteries. What one asked me was to put myself in action like a specialist in the realistic fiction.»



Solitude Transit (November 1989 – June 1990) — 1h 10′

Loneliness Transit

Stereo tape

Premiered : Paris TEP 1990

«On an idea of the choreographer Anne-Marie Reynaud, the scenario and the composition were made in close cooperation with the dance during periodic working sessions in which the whole company took part. Thus, the music was not plated, but was not worked out, was tested and corrected for six months, allowing a true encounter of creation. At certain times, the dancers form a real orchestra which dialogues with the magnetic tape.»



(*) Italie mon amour (December 1989 – June 1990) — 50′

Five musicians, 1 actress, about twenty of extra-actors.

Lighting : Gilles Chatard

Premiered : at Echirolles SIM Jean Wiener June 15, 1990

Biennial Sport-Culture: Italie-Passions

«This show was commissioned by the Town of Echirolles for its biennial « Italy passion », from where its name. It is a kind of musical comedy mixing dialogues, sketches, dances, lights, slides. I conducted this show with the musicians-actors of the MUSEEN CIRCUIT and local groups. Thus, we could have a large group of actors, a fashion show, invent alive representations of the Italian Renaissance, goddesses of Antiquity, paparazzi, etc.  We had a lot of fun. This show is a momentary action and was given for this precise circumstance.»



(*) Labyrinthe Hôtel (September 1989 – August 1990) — 1h 30′

Chamber Opera

Texts by Colette Fellous

Creation directed by Luc Ferrari, Radio Bremen Pro Musica Nova, May 11, 1990 with Elise Caron, Peter Bonke, Michel Musseau.

Sylvain Frydman and Carol Mundinger – clarinets, Marianne Delafon – percussion, Michel Maurer – piano

Premiere : Dramaturgie and directed by Farid Paya, Festival Musica, Strasbourg, 27 September 1990.

«Starting from the novel of Colette Fellous, Calypso, of a radio play  on this same novel and its author, of a series of songs on the body, the three authors thus met in the conception of a lyric object in which mix the song, the word, the noises of the world and the secrecies of the intimacy, called “chamber opera” since that occurs in a hotel room. In consequence of a misunderstanding between the novelist, the director and the composer, this chamber opera cannot be represented any more. A new musical version exists, it’s title is Chansons pour le Corps – songs for the body.» (see 1994)