Lambert Wilson - Chante Kurt Weill - Le Radiant - Caluire

Lambert Wilson chante Kurt Weill at Radiant-Bellevue

From our stage in Caluire-et-Cuire, Radiant-Bellevue is proud to welcome Lambert Wilson for an evening devoted to the power and poetry of Kurt Weill. With Lambert Wilson chante Kurt Weill, we host a performer whose musical intelligence and theatrical presence illuminate every line of text and every change of rhythm, guiding the audience from Berlin cabaret to Parisian exile and on to Broadway’s luminous nights. In our hall’s warm acoustics, this repertoire gains a vivid immediacy: the bite of satire, the tenderness of confession, and the smoky allure of late-night reverie. Expect an itinerary of emblematic songs that Wilson has made his own in recital, from Die Moritat von Mackie Messer and Alabama Song to Surabaya-Johnny, Youkali, and Je ne t’aime pas. Sung across the languages that shaped Weill’s creative life, these works become a dramatic cycle, stitched together by Wilson’s storytelling clarity and our carefully tailored sound to ensure every word carries to the back row without losing intimacy.

A stagecraft shaped by our hall

Our team has designed a setting that underscores the theatrical DNA of this music: a cabaret-inflected light palette, sculpted shadows, and a clean stage architecture that gives the voice and the words pride of place. Lambert Wilson’s approach thrives on nuance—spoken inflections that bloom into melody, a glance that reframes a stanza—and Radiant-Bellevue’s sightlines and adjustable acoustic canopy allow those nuances to register with precision. The program’s orchestral footprint is deliberately agile, favoring piano-led textures and chamber colors that let songs like Nanna’s Lied or Lost in the Stars pivot from murmured confession to expansive sweep. Between numbers, Wilson’s narrative threads trace Weill’s collaborations and migrations, revealing how the caustic humor of the Weimar years sits alongside the lyrical hope of later Broadway pages. Our technical crew calibrates light and sound scene by scene—cool ambers for the ironies of the Berlin streets, nocturnal blues for the melancholy drift of Youkali—so that each transition feels like the turn of a film reel. The result is not a museum piece, but a living recital where gesture, diction, and harmony converge in the present tense.

As a venue, we also follow the artist’s broader momentum, and Lambert Wilson’s recent seasons confirm a uniquely active balance between cinema, theatre, and concert work. On the musical front, his latest recital appearances have continually refreshed the Weill constellation with titles audiences relish hearing anew—Speak Low, September Song, Lost in the Stars, and Nanna’s Lied among them—interpreted with a storyteller’s instinct and a craftsman’s ear for text. That ongoing dialogue with twentieth‑century song is bringing him to major stages in France and beyond, and Radiant-Bellevue is honored to be a waypoint for this tour. Our audience in the Lyon area will encounter an artist who treats each performance as a premiere, adjusting tempo, color, and dynamic contour to the room and its listeners. The intimacy of our auditorium supports the conversational qualities of numbers like Je ne t’aime pas, while its headroom accommodates the brassy swagger and bite of Die Moritat von Mackie Messer or Alabama Song. We prepare the space to welcome not only the voice and the ensemble, but also the attentive silence that this repertoire demands—those suspended seconds after the final cadence when the room holds its breath before the applause rises.