Published on June 20, 2024 at 9:20 p.m. / Modified on June 20, 2024 at 10:09 p.m.
“What a fight!” François Gremaud’s parents had fun, using the Friborg dialect as the language of tenderness. In other words: “What a talker!” And we can well imagine little François gossiping in his bathtub, transforming morning tales into evening epics. Allegretto, on display at the Théâtre de Vidy until Saturday, is the story of a dazzlement, that which the artist experiences at the age of 8 through Zardoz, this absurd film by John Boorman, capped – and therein lies all its grace – by the second movement of the 7th Symphony of Beethoven, theAllegretto exactly. The actor is in tune: his mutinous eloquence delights you.
On the threshold of his odyssey, François Gremaud awaits you, placid and slender like the swan on the edge of a reed bed. The stage is bare, except for a grand piano open like a whisper chest. François has just started. He tells you about Ludwig von Beethoven, about this 7th Symphony which he wrote at the age of 41, in the disrupted Europe of 1812, the one which saw Napoleon and his troops leave Russia in disaster.
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