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Opus – Opus 2

Circassiens pendant le spectacle opus

Creation 2013

With the Cie CIRCA – Yaron Lifschitz


Created for the Nuits de Fourvière Festival in Lyon, France, Opus is a spectacular circus- ballet of powerful poetic beauty. The collaboration of the Debussy Quartet and the Australian company CIRCA was born of a love shared by both creative teams for the intimate, passionate, lyric, ironic and moving music of Shostakovich. Fourteen acrobats, men and women, successively become dancers, characters or objects clinging to the rhapsodic lines of the compositions by the Russian genius. Together they deliver up a chaotic, strikingly beautiful, powerful and meaningful choreography in which each individual, in his or her solitude and fragility, continues to push back the boundaries of his or her own limits… Thus transcending the limits of the art of circus and of the music itself.



Press Review


« The idea of “Opus” may sound gimmicky. Yet I have seldom listened so attentively to these Shostakovich scores. »
Anthony Tommasini, The New York Times, 5 November 2015


« As the quartet struck the eerie opening notes of Dmitry Shostakovich’s “Adagio for String Quartet,” they appeared to be suspended over the waves of some surreal, diaphanous ocean. »
Madeline Zimring, The Daily Californian, 3 November 2015


« Opus is cut-glass, caviar circus. It’s black tie and ball gown circus. It’s an astonishing thing to watch: graceful, bombastic. Profound (…) It is like extreme ballet. You get the astonishment of great circus with the sense of transcendence more familiar in «higher» forms »
Matt Trueman, The Telegraph, 19 February 2014


« Shostakovich’s quartets swirl and shift, travelling tumultuous and unpredictable paths as the performers leap and bound across the stage, in equally thrilling measure. (…) The instruments themselves dance, as bows bounce and sway like the limbs of a trapeze artist. »
The Conversation, 21 October 2014


« This Australian ensemble has collaborated with the Debussy String Quartet in an evening so remarkable as almost to defy description (…). The joint trust between all, acrobats and musicians
alike, was extraordinarily moving. Shostakovich would have thrilled to every second. »
Fiona Maddocks, The Guardian, 23 February 2014