We begin in sunlit open air — Doppler’s Fantasie pastorale hongroise conjures a carefree folk world, full of vitality and colour. From there we slip into reverie: Debussy’s Prélude à l’après-midi d’un faune suspends time in a dreamer’s hazy afternoon, hovering between sleep and waking.
Then comes a human heart laid bare. Lenski’s aria from Tchaikovsky’s Eugene Onegin is a farewell — a young man on the eve of a duel, mourning the life and love he stands to lose. It is the emotional core of the programme.
Valerie Coleman’s Fan Imen carries us into ancient stillness, a meditative tribute to a queen, crossing centuries and continents with quiet power.
Finally, we arrive at myth itself. Jolivet’s Chant de Linos — a lament rooted in Greek antiquity — gathers everything that has come before: the pastoral, the dream, the grief, the mystery, and forges it into something urgent, wild, and transcendent.