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Shows
Sarabande – Noémi Boutin & Jörg Müller | Circus and classical music show in Annecy
From 11 to 12 march 2027
Saraband
Sarabande is a creation of rare elegance where classical music, contemporary circus, and juggling converge to give birth to a performance suspended between poetry, virtuosity, and contemplation. Conceived and performed by cellist Noémi Boutin and juggler Jörg Müller, this work offers a sensitive reinterpretation of three of Johann Sebastian Bach's most famous Suites for solo cello, transformed into a stage experience where each note engages in a dialogue with movement, space, and the laws of gravity.
Presented at Bonlieu Scène nationale in Annecy, Sarabande is neither a concert nor a circus performance. It is a true conversation between two artists who share the stage, constantly listening to one another. The music influences the juggler's gestures, while the movements of the objects seem to alter the very perception of Bach's works. Neither world dominates the other: they intertwine with remarkable precision to create a completely original artistic language.
At the heart of the performance, Noémi Boutin interprets Bach's Suites Nos. 1 in G major, 3 in C major, and 5 in C minor. True cornerstones of the cello repertoire, these works offer an emotional journey from light to introspection. Their musical architecture becomes a veritable dramaturgy, each suite inspiring a different visual universe and guiding the construction of the scenes that make up the performance.
In contrast, Jörg Müller has developed his own unique approach to juggling. For many years, this circus artist has been researching continuous movement and the physical phenomena that govern suspended objects. His work deliberately departs from traditional juggling based on throws and catches. Instead, he seeks to eliminate the very notion of falling, favoring rotations, oscillations, precarious balances, and circular movements. The objects then seem to move according to their own rhythm, creating an impression of perpetual floating where gravity becomes a partner in play rather than a constraint.
The opening scene immediately immerses the viewer in this delicate aesthetic. A simple candle becomes the starting point for a reflection on the fragility of balance. A long pole accompanies the juggler's movements while the cello plays the opening bars of Bach. The gestures are slow, precise, almost meditative. Each movement seems to suspend time and invites the audience to take a fresh look at familiar physical phenomena.
The second scene unfolds in a completely different world. Suspended tubes gradually invade the stage space and become the juggler's partners. They sway, turn, intersect, respond to one another, and trace a veritable moving architecture in the air. The repetitive movements produce a hypnotic choreography that accompanies the cello's melodic lines. The gaze constantly shifts from the musician to the moving objects, as if the sonic vibrations were directly extending their aerial trajectories.
As the performance unfolds, the boundary between music and circus gradually disappears. Noémi Boutin's gestures themselves become choreographic, while the juggling acquires a musical dimension. The cello sometimes seems to converse with objects, sometimes with silences, sometimes with the space itself. This gradual fusion constitutes one of the great artistic achievements of Sarabande, where no discipline is used merely as an illustration of the other.
The final scene leads the audience to a spectacular and deeply poetic image. In an impressive aerial suspension, the musician continues her performance while Jörg Müller moves around her. This final elevation is not a gratuitous theatrical effect: it appears as the natural culmination of the entire performance's progression. From the beginning of the show, the artists have sought to defy the laws of gravity; this final scene represents its most accomplished expression, offering an image of great emotional power.
The lighting design by Hervé Frichet subtly complements each painting. The lights sculpt trajectories, highlight the movements of objects, and reinforce the sense of lightness that pervades the entire work. The contrasts of light emphasize the texture of the cello's wood, the presence of the suspended tubes, and the moments of suspension, all contributing fully to the visual narrative.
Sarabande is the result of a meeting between two artists with unique backgrounds. Noémi Boutin, a cellist renowned for her commitment to contemporary creation, has for several years been exploring new territories where music engages in dialogue with other artistic disciplines. Her work has led her to collaborate with dancers, directors, writers, visual artists, and circus performers, always with the aim of taking the cello beyond its traditional boundaries.
This approach is fully reflected in the philosophy of the Cie Frotter | Frapper, which she founded in Lyon in 2015. From its inception, the company affirmed its desire to disseminate both the great works of the classical repertoire and contemporary creations, while commissioning new scores and developing original musical shows.
Through its creations, the company has built an artistic identity based on encounters. The cello engages in dialogue with theater, dance, circus, literature, humor, gastronomy, and even the landscapes in which the performances take place. For Noémi Boutin, music possesses a unique ability to bring audiences together regardless of age, culture, or musical knowledge. Whether composed in the 18th century or just a few weeks earlier, whether classical, popular, or improvised, it remains a universal language capable of sparking the imagination without imposing any particular interpretation.
This commitment to openness is also reflected in a significant effort to educate and share knowledge. The company's productions are designed to reach a wide range of audiences, in theaters as well as schools, public spaces, courtyards, parks, and heritage sites. Each project aims to offer a sensory experience where listening becomes a shared act, capable of forging a connection between artists and spectators.
Sarabande perfectly illustrates this philosophy. By bringing together a cello, a juggler, a few objects, and Bach's Suites, the two artists demonstrate that virtuosity is never an end in itself but a means of evoking emotion. The performance consistently prioritizes delicacy, breath, silence, and attention to the smallest details. Movements slow down, objects seem to float, and time appears suspended, inviting everyone to rediscover the beauty of the simplest gestures.
The company's artistic quality is now widely recognized. Cie Frotter | Frapper is subsidized by the DRAC Auvergne-Rhône-Alpes and receives support from the Auvergne-Rhône-Alpes Region, the City of Lyon, the National Music Centre, the Maison de la Musique Contemporaine, and SPEDIDAM. It is also a member of PROFEDIM, FEVIS, and the national network Futurs Composés, demonstrating its commitment to the development of musical creation in France.
At the same time, Noémi Boutin is an associate artist at several major French cultural institutions: MC2 Grenoble, Les Quinconces & L'Espal – Scène nationale du Mans, Malraux – Scène nationale Chambéry Savoie as well as the Théâtre de la Renaissance d'Oullins-Lyon Métropole, all partnerships which support the development of her artistic projects.
The production is by Cie Frotter | Frapper, in co-production with the Festival Les Nuits d'été, with support from Les Subsistances in Lyon. The lighting design is by Hervé Frichet, who also serves as stage manager, alternating with Kamille Fau.
Since its creation, Sarabande has received enthusiastic critical acclaim. L'Est Républicain praises "a delicate spectacle, always on the edge, combining grace and virtuosity." Toute la Culture evokes "immense emotion," while Le Monde describes "a show that sways, literally and figuratively, in the luminous space opened up by Bach's Suites." These reviews highlight the ability of this creation to transcend the usual boundaries between music and circus arts to offer a profoundly original experience.
Accessible to both classical music lovers and contemporary circus enthusiasts, Sarabande invites us to slow down, observe, and listen differently. In a world where everything is accelerating, this performance instead embraces time, precise gestures, attentive listening, and the poetry of movement. A work of great subtlety, it finds a striking modernity in Bach's music, thanks to the sensitive dialogue between Noémi Boutin's cello and Jörg Müller's aerial juggling.
Presented at Bonlieu Scène nationale in Annecy, Sarabande is neither a concert nor a circus performance. It is a true conversation between two artists who share the stage, constantly listening to one another. The music influences the juggler's gestures, while the movements of the objects seem to alter the very perception of Bach's works. Neither world dominates the other: they intertwine with remarkable precision to create a completely original artistic language.
At the heart of the performance, Noémi Boutin interprets Bach's Suites Nos. 1 in G major, 3 in C major, and 5 in C minor. True cornerstones of the cello repertoire, these works offer an emotional journey from light to introspection. Their musical architecture becomes a veritable dramaturgy, each suite inspiring a different visual universe and guiding the construction of the scenes that make up the performance.
In contrast, Jörg Müller has developed his own unique approach to juggling. For many years, this circus artist has been researching continuous movement and the physical phenomena that govern suspended objects. His work deliberately departs from traditional juggling based on throws and catches. Instead, he seeks to eliminate the very notion of falling, favoring rotations, oscillations, precarious balances, and circular movements. The objects then seem to move according to their own rhythm, creating an impression of perpetual floating where gravity becomes a partner in play rather than a constraint.
The opening scene immediately immerses the viewer in this delicate aesthetic. A simple candle becomes the starting point for a reflection on the fragility of balance. A long pole accompanies the juggler's movements while the cello plays the opening bars of Bach. The gestures are slow, precise, almost meditative. Each movement seems to suspend time and invites the audience to take a fresh look at familiar physical phenomena.
The second scene unfolds in a completely different world. Suspended tubes gradually invade the stage space and become the juggler's partners. They sway, turn, intersect, respond to one another, and trace a veritable moving architecture in the air. The repetitive movements produce a hypnotic choreography that accompanies the cello's melodic lines. The gaze constantly shifts from the musician to the moving objects, as if the sonic vibrations were directly extending their aerial trajectories.
As the performance unfolds, the boundary between music and circus gradually disappears. Noémi Boutin's gestures themselves become choreographic, while the juggling acquires a musical dimension. The cello sometimes seems to converse with objects, sometimes with silences, sometimes with the space itself. This gradual fusion constitutes one of the great artistic achievements of Sarabande, where no discipline is used merely as an illustration of the other.
The final scene leads the audience to a spectacular and deeply poetic image. In an impressive aerial suspension, the musician continues her performance while Jörg Müller moves around her. This final elevation is not a gratuitous theatrical effect: it appears as the natural culmination of the entire performance's progression. From the beginning of the show, the artists have sought to defy the laws of gravity; this final scene represents its most accomplished expression, offering an image of great emotional power.
The lighting design by Hervé Frichet subtly complements each painting. The lights sculpt trajectories, highlight the movements of objects, and reinforce the sense of lightness that pervades the entire work. The contrasts of light emphasize the texture of the cello's wood, the presence of the suspended tubes, and the moments of suspension, all contributing fully to the visual narrative.
Sarabande is the result of a meeting between two artists with unique backgrounds. Noémi Boutin, a cellist renowned for her commitment to contemporary creation, has for several years been exploring new territories where music engages in dialogue with other artistic disciplines. Her work has led her to collaborate with dancers, directors, writers, visual artists, and circus performers, always with the aim of taking the cello beyond its traditional boundaries.
This approach is fully reflected in the philosophy of the Cie Frotter | Frapper, which she founded in Lyon in 2015. From its inception, the company affirmed its desire to disseminate both the great works of the classical repertoire and contemporary creations, while commissioning new scores and developing original musical shows.
Through its creations, the company has built an artistic identity based on encounters. The cello engages in dialogue with theater, dance, circus, literature, humor, gastronomy, and even the landscapes in which the performances take place. For Noémi Boutin, music possesses a unique ability to bring audiences together regardless of age, culture, or musical knowledge. Whether composed in the 18th century or just a few weeks earlier, whether classical, popular, or improvised, it remains a universal language capable of sparking the imagination without imposing any particular interpretation.
This commitment to openness is also reflected in a significant effort to educate and share knowledge. The company's productions are designed to reach a wide range of audiences, in theaters as well as schools, public spaces, courtyards, parks, and heritage sites. Each project aims to offer a sensory experience where listening becomes a shared act, capable of forging a connection between artists and spectators.
Sarabande perfectly illustrates this philosophy. By bringing together a cello, a juggler, a few objects, and Bach's Suites, the two artists demonstrate that virtuosity is never an end in itself but a means of evoking emotion. The performance consistently prioritizes delicacy, breath, silence, and attention to the smallest details. Movements slow down, objects seem to float, and time appears suspended, inviting everyone to rediscover the beauty of the simplest gestures.
The company's artistic quality is now widely recognized. Cie Frotter | Frapper is subsidized by the DRAC Auvergne-Rhône-Alpes and receives support from the Auvergne-Rhône-Alpes Region, the City of Lyon, the National Music Centre, the Maison de la Musique Contemporaine, and SPEDIDAM. It is also a member of PROFEDIM, FEVIS, and the national network Futurs Composés, demonstrating its commitment to the development of musical creation in France.
At the same time, Noémi Boutin is an associate artist at several major French cultural institutions: MC2 Grenoble, Les Quinconces & L'Espal – Scène nationale du Mans, Malraux – Scène nationale Chambéry Savoie as well as the Théâtre de la Renaissance d'Oullins-Lyon Métropole, all partnerships which support the development of her artistic projects.
The production is by Cie Frotter | Frapper, in co-production with the Festival Les Nuits d'été, with support from Les Subsistances in Lyon. The lighting design is by Hervé Frichet, who also serves as stage manager, alternating with Kamille Fau.
Since its creation, Sarabande has received enthusiastic critical acclaim. L'Est Républicain praises "a delicate spectacle, always on the edge, combining grace and virtuosity." Toute la Culture evokes "immense emotion," while Le Monde describes "a show that sways, literally and figuratively, in the luminous space opened up by Bach's Suites." These reviews highlight the ability of this creation to transcend the usual boundaries between music and circus arts to offer a profoundly original experience.
Accessible to both classical music lovers and contemporary circus enthusiasts, Sarabande invites us to slow down, observe, and listen differently. In a world where everything is accelerating, this performance instead embraces time, precise gestures, attentive listening, and the poetry of movement. A work of great subtlety, it finds a striking modernity in Bach's music, thanks to the sensitive dialogue between Noémi Boutin's cello and Jörg Müller's aerial juggling.
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