In Sacré Satie, Jan Michiels juxtaposes Satie’s piano work Uspud with Liszt’s Via Crucis. Both pieces are religious, but in Liszt’s work it’s religion that prevails, while confusion gets the upper hand with Satie; the title alone – ballet catholique – probably raises quite a few eyebrows.
Pianist Jan Michiels has been known for his very personal and multi-layered approach to the piano repertoire, combining old and new in always changing perspectives. He composes his programs through a continuous dialogue with living music history. As such, Michiels worked closely with composers such as György Kurtág, Karel Goeyvaerts and Kris Defoort.
Whether it is Lise Bruyneel’s former career as a cellist, finding the right image for a performance, making video collages or imagining which poetic project will speak to the passer-by on the street, the approach is similar: to stand at the interface between artists and audience in a creative and emotional way.
Please use the (free!) underground bike parking garage under the Rector De Somerplein.