If “the swallow does not make the spring,” it is the arts, and predominantly music, that herald spring in Monaco—and beyond—for the past 25 years, it’s been the “Spring of Arts!” The annual transformation found a new path five years ago with the arrival of Marc Monnet, a unique composer in contemporary music who does not want to be confined to one sector. He wishes to continue surprising with his works, and this approach has been reflected in his role as the artistic director of this festival.
Marc Monnet and Francesco Filidei at the Hartung Foundation in Antibes (Photo by Philippe Dejardin)
To “gently but effectively whip up this Spring of Arts,” to offer vibrant music that effortlessly ranges from the 11th to the 21st century and even beyond Europe’s borders, Marc Monnet and his team want to continue on this new musical path—a path that has been surprising and will lead us to even more innovative trails.
We met with him during the last “Thursday at the Hartung Foundation” in Antibes, the first novelty of this 25th festival, in a very relaxing and laid-back environment, before discovering Francesco Filidei, an Italian young composer, who discussed his world premiere “N.N” to be played at the closing on April 18 at the Oceanographic Museum of Monaco.
Nice-Premium: At the presentation of this 25th Spring of Arts, you mentioned that “the festival needed shaking up?”
Marc Monnet: It was about challenging the status quo. We’re stuck in our ways. If we don’t challenge them, they end up overtaking us. The Festival had created many things during those twenty years before I arrived, that’s clear. What I brought was also requested, a new energy for an institution that was starting to age. Every institution needs fresh blood; that’s what I tried to do, and I don’t know if I have succeeded.
N.P.: Isn’t the first indicator the attendance?
M.M: I see we have a lot of audiences. For me, this is the only important reward because I don’t think we’ve gone for populist programming. What matters to me is not having 200,000 people; it’s about reaching a significant number, yes, who are growing, but in a profound and lasting way.
N.P.: You want to astonish, to introduce other paths that people might not have thought to take?
M.M: It’s not me, but the music that shakes things up. It’s astonishing what has been done in music through the centuries. There’ve always been people who moved mountains. I want the audience (he insists on the verb) to feel activated internally at a concert to discover other musics. That’s my goal.
N.P.: In your “Outdoors” initiative, you’ve chosen to bring the Parisii Quartet three times in a row, any particular reason?
M.M: It’s a very good quartet that has been around for several years with a large discography. Each year, I like revisiting ideas. Every year we have musicians who become important—at a certain point—in the festival. I think it’s beneficial for the audience who can see what they’re capable of, what they can experience with them. This year it will be the same with the Zehetmair Quartet. The Parisii Quartet plays entirely from memory, which is very rare, and they have a remarkable repertoire.
N.P.: Three concerts with the same quartet but in three different places. Is this the first inter-communal cooperation concerning the Spring of Arts?
M.M.: Absolutely, and I hope it expands. Like in a house, it’s better to get along with your neighbors. We have important neighbors, and Monaco can only live with them. Thanks to this, we also have increased resources, and it’s important to associate for the greater good.
N.P.: You have also emphasized Schubert with 5 evenings.
M.M: For five years, I have been offering insights into composers, and I really like monographical studies. It’s better for engaging deeply with the composers’ music compared to “patchwork” concerts, which are rarely coherent. We’re not going to listen to all of Schubert but to delve deeply, four symphonies aren’t nothing. I’ve also been bringing contemporary composers for five years. This year it’s Kurtag, and Kreizberg has agreed to play this composer. I want to make these composers known, who aren’t well known in the regions. Boulez—when I brought him—had told me that it had been 30 years since he came to the French Riviera, and it was for a concert in Nice but he couldn’t remember with whom. I find that situation abnormal personally.
N.P.: What do you think are the reasons for their absence?
M.M.: Ah! I don’t know. Where I can act is to bring them here, and that’s what I do. Kreizberg will present—a concerto for viola by Kurtag between two Schubert symphonies—and it’s interesting for the programming.
N.P.: You also propose a Night of the Cello at several venues?
M.M: Three years ago, we did a Night of the Piano, with thirty historical pianos and the pianists played on period instruments. Interesting, but it can’t be done with all instruments, notably due to the repertoire. We have a very strong and talented young generation of cellists.
N.P.: About the “Unusual Nights,” you mentioned “Utopias”?
M.M: The festival was missing something unexpected. We’re quite constrained by the programming, that of the artists, the venues. We work two years in advance, three for orchestras, and I find that quite heavy and burdensome. A bit of “air” does good, and that’s what happens when you meet someone, want to do something, and it happens to us regularly. It was the case with the Hartung Foundation, we wanted to set up a program, and it was the one for the “Thursdays at the Hartung Foundation,” with the success we’ve seen. It’s the same here, I wanted a light, spontaneous structure in a small group. Nothing is closed off regarding the place or the theme…
N.P.: How many will you do?
M.M: Four, and I hope many more in the years to come.
N.P.: Other repeated evenings, those with the Zehetmair Quartet, something to make known?
M.M: It’s not a young quartet. It is internationally known but very poorly so in France and in Monaco where I know it hasn’t yet come. It’s a very great quartet and I thought it needed to be brought here. When it isn’t well-known, you need to “hammer it home,” hence the three concerts, and it will be a great discovery for the audience.
N.P.: In your program, there is also an “Unusual Self-Portrait” and Marc Monnet is the subject. Marc Monnet staging himself in a festival directed by Marc Monnet, isn’t that risky?
M.M: It’s very risky but I like what is—sometimes—”immoral.” You shouldn’t be in the norm, I don’t program myself, I don’t need to nor is it a necessity. But there it happened that—in a co-production with the Ballets de Monte Carlo (where I do the music in response to a commission from Jean-Christophe Maillot) we had a simple constraint. Since the ballet is going to be created in July, the music had to be recorded before, thus played. We came up with the straightforward idea of playing it four months earlier in the Spring of Arts, to record it the following week and so it would be available for him to work with.
N.P.: A sort of dress rehearsal?
M.M.: Yes, and it started like that. I thought why not extend it with an “Autoportrait” because we’ve been doing it since time immemorial. It’s true that’s risky, we’ll question it, but that’s what interests me.
N.P.: You enjoy taking musical risks?
M.M.: I think life is a risk.
N.P.: The highlight, of course, is the “surprise trip”, and this has been going on for how long?
M.M.: We’ve been doing it since the second year, so that’s four years. I skipped a year to not repeat myself, but it was the audience who imposed on me to take it up again, I found that very friendly.
Nelly Rainaut and Marc Monnet in front of the poster (Photo Philippe Dejardin)
Another character spotlighted for this 25th edition is Nelly Rainaut, completely unknown to the general public before, but very well known by numerous renowned musicians, orchestra conductors, and even major music halls in Paris or Geneva, if applicable. She features in all the visuals of this 25th Spring of Arts, press documents, bus shelters, in train stations, and especially on the 4×3 meter posters, and it’s not exactly a coincidence… A model around the age of 20, she maintained a physical presence, confidence, as well as an attitude. Not to forget the influence of her mother on her love of music nor her 10 years of piano and 10 years of classical dance.
At the 2008 edition, the public was invited to come and have their photo taken listening to music, and Nelly partook wholeheartedly like hundreds of others… The organizers’ aim was to highlight this loyal audience in a communication campaign, and the choice fell on Nelly.
Reaction of the person concerned during the presentation.
N.P.: How did you react when you saw yourself on the posters?
Nelly Rainaut: Honestly very impressed, and yet I’m not a shy girl. Whenever I’ve been interviewed at the end of a concert in any media, I’ve always been natural, relaxed. But then I really realized. When I signed my “engagement” and read the dimensions of the posters, it really got to me. Nothing compared to the one that will be placed on the façade of the Sporting Winter in Monte Carlo. I am very impressed, touched, and honored.
N.P.: And your close ones?
N.R.: All my friends told me, “It’s deserved, normal, and nice that you were chosen. You are so passionate, a music lover, and loyal to your musician friends and the Monte Carlo Orchestra.”
The posters were unveiled a few days after my birthday, and it was the best gift. I enjoy buying tickets for others, inviting them to come, encouraging people to come listen to the concerts.
N.P.: You seem so immersed in music.
N.R.: Music is a universal language. I wake up to music, go to bed with music, it’s my life. During the day, it’s concerts, rehearsals. And then I go to Paris, Geneva, anywhere there is good music. I struggle more with 20th-century music, also contemporary, but on the other hand, Brahms, Schubert, and Chopin, bliss, they are my favorites.
N.B. You can purchase the 6 CD collector-set for 60€, reserve your tickets at a preferential rate (-10%) on the festival website (www.printempsdesarts.com). An Association of Friends of the Festival and a Club of Partners will finally see the light of day.
Spring of Arts of Monaco from March 31 to April 18
12 avenue d’Ostende / 98000 Monaco
Tel. +377 93 25 58 04
(number for all registrations, notably for free bus transport to concert venues with guaranteed return)
Reservations at +377 98 06 28 28
The Program briefly but in order:
“Outdoors” concerts on March 31, April 1 and 2 at 8:30 pm in Cap d’Ail, Beausoleil and Beaulieu (free but subject to availability)
Schubertiade on April 3, 4 at 8:30 pm, April 5 at 3 pm and 6 pm, and April 10 at 8:30 pm in Monaco
Discoveries on April 6, 7, and 8 at 8:30 pm in Monaco
Utopias for an Evening on April 8 at 5:30 pm at the FNAC in Monaco
Autoportrait on April 9 at 8:30 pm (Empire Room) in Monaco
Utopias for an Evening on April 11 at 5:30 pm at the FNAC in Monaco
Night of the Cello on April 11 starting at 8 pm at the Oceanographic Museum
“Surprise” Journey on April 12
Zehetmair Quartet on April 13, 15, and 16 at 8:30 pm at the Sporting Winter
“25 Years of Spring of Arts” Evenings on April 17 at 8:30 pm
(Parking des Pêcheurs pending confirmation) and April 18 starting at 8 pm (Oceanographic Museum)
