Typically more arid the dob has been a festival of good wordsAt the close the S P 500 has fallen by 1Will this period of relative calm last NonHowever it will be difficult to reconcile the interests of eachIts recommendations are usually followed by the Government433 specifically that the opposition had filedAcross the Atlantic the crisis contracted bond of communitiesHis way Alice Dautry is a child of May 1968You need to know accompany such a processFind the articles of the series of summer onClosed for four years, the salle Pleyel reopened September 13 after more than a year of work. A true renaissance made possible by the close collaboration between its owner Hubert Martigny, co-founder of Altran technology, and Arnaud Marion, specialist of the relief to businesses. For this inaugural season, 160 concerts are programmed, placed under the sign of the eclectic, consistent with the vocation first room. We can especially hear pianist Murray Perahia, opera singer Jessye Norman and Dianne Reeves jazz singer. Created in 1927, the Pleyel room counted among the most prestigious auditoriums in the world with New York's Carnegie Hall and the Amsterdam Concertgebouw. She welcomed all the great composers of his time, such as Stravinsky, Ravel, as well as the great names of jazz, Sydney Bechet and Louis Armstrong.
Washed in the bankruptcy of the Crédit lyonnais owner since 1933, Pleyel was transferred in 1998 to Hubert Martigny. The man business, married to conductor Carla Maria Tarditi, decided to devote a portion of his fortune to restore this mythical place and entrusts the management of this ambitious project to Arnaud Marion. In the room Pleyel version 2006, the comfort of the public and the acoustics have been significantly improved, revamped scene and architecture Art Deco of the place have been restored to their original beauty. Tenant operating room, the State will become owner for one symbolic euro at the end of a fifty year lease. The Arnaud Marion consultant, who has orchestrated this renovation, described the scenes.
Limited series: You have directed the renovation of the salle Pleyel. Why the owner, Hubert Martigny, you he has entrusted this task
Arnaud Marion: Hubert Martigny found that I could bring my skills in crisis management. Upon my arrival, the site was at a standstill. This historic site in the turmoil of the bankruptcy of the Crédit lyonnais was closed, prey to multiple disputes and trials with some of the tenants of the building that housed offices and classes of dance and music, sources of noise. My role was to develop a specification for the reopening after a total restructuring of the place. The work was entrusted to the Bouygues group.
S.L.: What are your agreements with the State
A.m.: it's a genuine joint partnership between the public and the private sector. In France, public power is the largest producer of classical music, through the Ministry of Culture, Radio-France, the city of Paris and the local communities. It therefore seemed logical to "restore" to state the Pleyel Hall after its restoration. Its artistic management is already assigned to Laurent Bayle, the Director of the Cité de la musique, which handles all of the programming. Hubert Martigny, the owner of the walls, has funded the entire renovation work which amounted to some 33 million euros. Currently tenant of the premises, the State will become in turn owner of the room Pleyel for one symbolic euro at the end of a period of fifty years during which he will be paid an annual rent of 1.5 million.
S. l.: can you explain what consisted this work and what are the characteristics of the new Pleyel
A. M.: Whole structure has been rehabilitated. The architects François Céria and Russel Johnson - who is also sound engineer - had to strike a balance between aesthetic and acoustic. Architecturally, the decorative elements of the hall have been cleaned and released value. Thus the mosaic, the ironwork of Subes and four medallions stone carved by the Bourgeois representing the Silence and music. Pleyel found his aesthetic Art Deco of origin. A major effort was carried out for the comfort of the room. Spectators will be better installed in most large armchairs. We went from 2 310 to 1 910 seats.
S. l.: has much criticized the sound of the Pleyel room, how have you overcome his disabilities
A. M.: Russel Johnson conducted 150 concert halls. It is the largest builder of theatres in the world concerts. Acoustics is not only science and requires extensive experience. Working without a net, because it is expected the first true test of the concert hall to realize its qualities and its defects. The acoustics of a room depends on a set of parameters as a reverberation time which must be sufficient long but without echoes. It shall allow the listener to feel literally enveloped by the sound, which was not the case so far to Pleyel. Finally, there must be a proper tonal balance. It is this which allows the intimacy between the Orchestra and the public. The sound of the new Pleyel is characterized by its clarity and elegance.
S. l.: the announcement of the creation of a new auditorium at La Villette, by the Minister of Culture Renaud Donnedieu de Vabres, does she not call into question the future of the salle Pleyel
A. M.: In my opinion, this announcement is rather positive, because it cannot be said that the public authorities have invested for the benefit of classical music since the creation of the city of music in 1995, and the Opera Bastille. It is certain that a new auditorium at La Villette offer more amenities to musicians in terms of dressing and rehearsals. Therefore we do complain
Closed for four years, the salle Pleyel reopened September 13 after more than a year of work. A true renaissance made possible by the close collaboration between its owner Hubert Martigny, co-founder of Altran technology, and Arnaud Marion, specialist of the relief to businesses. For this inaugural season, 160 concerts are programmed, placed under the sign of the eclectic, consistent with the vocation first room. We can especially hear pianist Murray Perahia, opera singer Jessye Norman and Dianne Reeves jazz singer. Created in 1927, the Pleyel room counted among the most prestigious auditoriums in the world with New York's Carnegie Hall and the Amsterdam Concertgebouw. She welcomed all the great composers of his time, such as Stravinsky, Ravel, as well as the great names of jazz, Sydney Bechet and Louis Armstrong.
Washed in the bankruptcy of the Crédit lyonnais owner since 1933, Pleyel was transferred in 1998 to Hubert Martigny. The man business, married to conductor Carla Maria Tarditi, decided to devote a portion of his fortune to restore this mythical place and entrusts the management of this ambitious project to Arnaud Marion. In the room Pleyel version 2006, the comfort of the public and the acoustics have been significantly improved, revamped scene and architecture Art Deco of the place have been restored to their original beauty. Tenant operating room, the State will become owner for one symbolic euro at the end of a fifty year lease. The Arnaud Marion consultant, who has orchestrated this renovation, described the scenes.
Limited series: You have directed the renovation of the salle Pleyel. Why the owner, Hubert Martigny, you he has entrusted this task
Arnaud Marion: Hubert Martigny found that I could bring my skills in crisis management. Upon my arrival, the site was at a standstill. This historic site in the turmoil of the bankruptcy of the Crédit lyonnais was closed, prey to multiple disputes and trials with some of the tenants of the building that housed offices and classes of dance and music, sources of noise. My role was to develop a specification for the reopening after a total restructuring of the place. The work was entrusted to the Bouygues group.
S.L.: What are your agreements with the State
A.m.: it's a genuine joint partnership between the public and the private sector. In France, public power is the largest producer of classical music, through the Ministry of Culture, Radio-France, the city of Paris and the local communities. It therefore seemed logical to "restore" to state the Pleyel Hall after its restoration. Its artistic management is already assigned to Laurent Bayle, the Director of the Cité de la musique, which handles all of the programming. Hubert Martigny, the owner of the walls, has funded the entire renovation work which amounted to some 33 million euros. Currently tenant of the premises, the State will become in turn owner of the room Pleyel for one symbolic euro at the end of a period of fifty years during which he will be paid an annual rent of 1.5 million.
S. l.: can you explain what consisted this work and what are the characteristics of the new Pleyel
A. M.: Whole structure has been rehabilitated. The architects François Céria and Russel Johnson - who is also sound engineer - had to strike a balance between aesthetic and acoustic. Architecturally, the decorative elements of the hall have been cleaned and released value. Thus the mosaic, the ironwork of Subes and four medallions stone carved by the Bourgeois representing the Silence and music. Pleyel found his aesthetic Art Deco of origin. A major effort was carried out for the comfort of the room. Spectators will be better installed in most large armchairs. We went from 2 310 to 1 910 seats.
S. l.: has much criticized the sound of the Pleyel room, how have you overcome his disabilities
A. M.: Russel Johnson conducted 150 concert halls. It is the largest builder of theatres in the world concerts. Acoustics is not only science and requires extensive experience. Working without a net, because it is expected the first true test of the concert hall to realize its qualities and its defects. The acoustics of a room depends on a set of parameters as a reverberation time which must be sufficient long but without echoes. It shall allow the listener to feel literally enveloped by the sound, which was not the case so far to Pleyel. Finally, there must be a proper tonal balance. It is this which allows the intimacy between the Orchestra and the public. The sound of the new Pleyel is characterized by its clarity and elegance.
S. l.: the announcement of the creation of a new auditorium at La Villette, by the Minister of Culture Renaud Donnedieu de Vabres, does she not call into question the future of the salle Pleyel
A. M.: In my opinion, this announcement is rather positive, because it cannot be said that the public authorities have invested for the benefit of classical music since the creation of the city of music in 1995, and the Opera Bastille. It is certain that a new auditorium at La Villette offer more amenities to musicians in terms of dressing and rehearsals. Therefore we do complain
