Saint-Denis, France: Festival de Saint-Denis celebrates French artists
May 26-June 29: Festival de Saint-Denis – Full details
For Gothic splendor, skip the routine performances of Baroque warhorses at Sainte-Chapelle and ride the No. 13 Métro line north to Saint-Denis, a working-class suburb just over the city line. Looming above the town is the 12th-century Saint-Denis Cathedral Basilica, housing the remains of every French king since Clovis; it’s well worth a visit even without music. In its 30th year, the Saint-Denis Festival fills the huge space with major orchestras, with an emphasis on French artists; smaller-scale programs take place in the adjacent Légion d’honneur, a former cloister.
The Orchestre Philharmonique de Radio France, under Mikko Franck, opens the festival with Mahler’s Third Symphony (May 26-27). The gifted young conductor Raphaël Pichon will lead his Ensemble Pygmalion in Bach’s Magnificat and Mendelssohn’s42nd Psalm (May 31). Donizetti’sRequiem (June 8) and the final act of Stockhausen’s Samstag aus licht (June 17) venture into more unusual repertoire. A recital by the Basilica’s organist, Pierre Pincemalle, offers a chance to hear the first instrumentcreated by France’s most revered organ maker, Aristide Cavaillé-Coll(June 12). The festival concludes with the traditional Beethoven Ninth Symphony, with Michele Mariotti leading the Orchestre National de France (June 23-24).




Hans Christian Andersen’s sobering tale depicts a poor girl on a snowy street, lighting matches for a few seconds of fleeting warmth in her final hour. In his opera, avantgarde composer Helmut Lachenmann explores the girl’s last moments as she gazes into the dreams and memories conjured by the flames. Co-Directors Phelim McDermott of award-winning improvised theater makers Improbable, and Mark Down of master-puppeteers Blind Summit Theatre cast extraordinary shadows to make a show that almost isn’t there, lit by the light of a match and performed at the speed of scissors. Elevated on a platform and encircling the audience, 106 members of the Spoleto Festival USA Orchestra perform this astonishingly evocative score, full of clicks, crackles, knocks, and hisses, under the baton of Resident Conductor and Director of Orchestral Activities John Kennedy. Lachenmann departs from traditional performance techniques in order to create a frigid atmosphere—a nearly meteorological effect—both animating the match girl’s world and contemplating the coldness of a society that would let a child freeze.

