The Alonetimes, un kaléidoscope de solitudes à la Fondation Cartier

The Alonetimes à la Fondation Cartier

By Chloë Rouge, 20 April 2026

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“L’écriture musicale explore de nombreux univers et c’est là la force de The Alonetimes”

Reviewed at Fondation Cartier pour l’art contemporain, Paris on 16 April 2026

Jennifer Walshe & Philip Venables, The Alonetimes

Andreas Borregaard, Accordion

Diamanda La Berge Dramm, Violin

Loré Lixenberg, Mezzo-soprano

Oskar McCarthy, Baritone

Vanessa Porter, Percussion

Adam Starkie, Bass Clarinet

Dorman’s Wahnfried receives its UK premiere at Longborough

Mark Pullinger, 27th May

Longborough Festival Opera, built on Wagnerian foundations, stages the UK premiere of Avner Dorman’s ambitious cautionary tale about the Wagner clan and establishing the composer’s legacy.

***11

Ariel takes flight at Waterperry Opera Festival

Roy Westbrook, 13th August

With a cast of six and orchestra of seven, Waterperry Opera treats us to a new chamber opera, and one with music by Mozart.

****1

The Rape of Lucretia: a shockingly powerful take at RCS

David Smythe, 18th January

Jack Furness’ production packs a shocking punch in Glasgow with a tightly sung ensemble of singers and a taut chamber band under conductor Lionel Friend.

****1

Dido and Aeneas and Trouble in Tahiti at RCS

David Smythe, 2nd March

In the unlikeliest of pairings at RCS, Purcell’s Dido and Aeneas finds resonance with Bernstein’s Trouble in Tahiti, delivered with spirited commitment.

****1

Stylish, witty double bill at RCS

David Smythe, 21st January

Commedia dell'arte and zany surrealism: RCS opera school pulls off a highly amusing double bill of Gianni Schicchi and Les Mamelles de Tirésias with style.

****1

Berlin im Licht: Philharmonia sheds light on the cabaret scene

Matthew Rye, 23rd September

Despite engaging vocal performances and vivid orchestral playing, the Philharmonia Orchestra’s exploration of Weimar-era Berlin’s cabaret world added up to less than the sum of its parts.

***11

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Chloë Rouge

Après des études d’histoire de la musique au CRR de Paris et de musicologie à l’EHESS avec pour ce sujet de recherche les compositeurs-chefs d’orchestres, Chloë Rouge devient enseignante de formation musicale au conservatoire Maurice Ravel du 13^e arrondissement de Paris. Particulièrement intéressée par la musique contemporaine et la médiation de la musique, elle commence la critique musicale pour le journal Altamusica et rédige des notes de programme pour différentes institutions (Festival de La Chaise-Dieu, Radio France). Depuis 2024, elle fait partie de la commission musique contemporaine de l’Académie Charles Cros.