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Baudouin de Jaer
Stephane Arcas
La Foret, Le Desert, L'Argent

avantgarde/ classical
Sub Rosa, 2026

total time: 66:01; 76:59

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CD:18,04€
in stock
cat. no: SR591
EAN: 5411867115915
format : CD
number of discs : 2
packaging : digipack


no. title play mp3
  CD 1
1 La Foręt 32:26
2 Le Désert (I) 33:36
CD 2
1 Le Désert (II) 22:30
2 L'Argent (Ce qui vit en nous) 54:30


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https://youtu.be/X3L9CbA3MVk

Baudouin de Jaer presents his new opera, created with Stéphane Arcas. (2 CDs released by SubRosa)
In 3 Acts: The Forest, The Desert, and Money
With the ensemble Besides, conducted by Martijn Dendievel and Diego Borrello


SYNOPSIS (Stéphane Arcas)
A theatrical triptych written by Stéphane Arcas between 2008 and 2011, The Forest recounts the journey and survival of a trio lost in unfamiliar territory; The Desert presents an existential quest in a hostile and boundless setting; and Money explores our relationship to reality and death.
Each text delves into the clichés associated with the world it traverses.
In The Forest, for example, the scenes follow one another, and the characters imbue the forest with a different status. They talk about it, or rather, act it out as if they were in a horror film, or on the set of a fairy tale, or in some other scene, describing it as if it were a Photoshopped image, or simply a psychoanalytic interpretation of their emotions.
For the two following acts, this same mechanism is declined and adapted to each act's specific context: in *The Desert*, we traverse a universe that is sometimes warlike, sometimes biblical, sometimes extremely sentimental.

In the case of *Money*, we explore and vary our exploration of television series, science, and psychedelia. The desire was to create free textual variations by superimposing them onto one's vision of each of these three elements, which serve as a guiding thread.

These themes (metaphysical clichés) are a pretext for discussion, for jokes, for playing with language.

THE MUSIC (Baudouin de Jaer)
The Forest, The Desert, The Money is a visual composition in which structure is rendered in volumes: cubic masses, lines (vertical, horizontal, and oblique), points or islands of sound, washes of sound, depths, and treble. In this approach, strong dynamics draw the sound material closer to
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