Entre cordes et archets

Synopsis:

While the corridors of the Auditorium – Orchestre National de Lyon are still empty, in a corner, the door to the concert hall is ajar. The subdued light begins to fill the space, while a few technicians, perched on the catwalk, meticulously adjust the spotlights. On stage, preparations are in full swing: music stands, microphones and seats are arranged in a precise orchestral fashion.

The musicians, their instruments in hand or on their backs, arrive one by one at the Auditorium. As they greet each other cordially, discussions liven up in the dressing rooms, where a relaxed, friendly atmosphere gradually settles in. At the same time, the technicians, tools in hand, gather to brief the various stages of the concert, while exchanging a few anecdotes.

Led by concertmaster Guillaume Chilemme, the musicians take to the stage to begin rehearsing one of the most intense works in Franz Schubert’s repertoire: the String Quintet in C major, D. 56 (version for string orchestra). Then comes the moment of tuning: a controlled anarchy of sound rises up, the strings blending together in ordered chaos.

With confident steps, a person dressed in black trousers and elegant black shoes with discreet soles and non-contrasting stitching crosses the Auditorium atrium towards the main hall. The orchestra, as concentrated as ever, continues to tune in LA3. A silhouette appears at the entrance to the stage: a man dressed in a long-sleeved white shirt with a black bow tie. As he arrives, the volume drops and all eyes turn to him. He is the conductor. He greets the audience, who pay tribute to him with a glance. He raises his arms… the music hangs from his fingertips.

And off we go.

In the shadow of the orchestra, another ballet is played out: that of the technical machinery, the lighting installations, the microphone connections, the comings and goings of the technicians in the control room and on the technical grid. All to the rhythm of the strings and bows, which come alive to create a romantic, shivering song.

The conductor sets the tempo with his baton, which moves in time with the fingers of the technicians on the lighting and sound consoles. As the symphony draws to a close, the applause of the audience fills the auditorium, marking the end of the performance… and the discreet ballet of satisfied technicians.