The playwright and essayist Luca Scarlini takes us through the folds of Fauré’s catalogue of mélodies, explaining why the series of Cinq Mélodies de Venise op. 58 (Mandoline, En sourdine, Green, À Clymène and C’est l’extase), composed to poems by Paul Verlaine and published in 1891, holds a special place. ‘Above all, sing it for yourself alone. I have little desire to lull other people’s reveries with accents that are mine alone!”: Fauré’s advice to Marguerite Baugnies about Green applies to the entire cycle, placed under the sign of intimacy. A musical souvenir that originates from the stay at the sumptuous palace of the Princess of Polignac, born Winnaretta Singer, who hosted composers and musicians from all over the world in her residence. The princesse and her consort were responsible for a rich season of Venetian compositions by French composers, including Reynaldo Hahn’s beautiful cycle Venice of 1901. Lecture followed by a tasting of wines and Lagoon products in the glass.
