He was happy at the head of the Orsay and Orangerie museums. But a few months ago he became president of the Château de Versailles, succeeding the thirteen years of reign of Catherine Pgard. One month and one day before the start of the Olympic Games – for which the public establishment hosts the equestrian events, the modern pentathlon events but also the two marathons and road cycling – Christophe Leribault talks to us about his first time at the helm of the institution, the joy of the 2024 Olympic Games in Versailles, the projects he intends to carry out and the place of music in this major heritage site, the third most visited monument in France.
Versailles, ready for the 2024 Olympics
“The stands are spectacular, the views of the castle will be magnificent, but they will not prevent you from continuing to visit and enjoy this heritage. That was obviously the whole point: to highlight the Olympics, but not to the detriment the pleasure of discovering the castle, especially for all the people who will come to attend these equestrian events.” This alliance of sport and culture, precious and at the heart of the soul of the Olympic Games, takes on its full meaning at Versailles which, as Christophe Leribault recalls, “is not just a place of history”. He pursues : “It is a place designed by Louis Petite Versailles has always been a place of performances, both dance and musical and pyrotechnic, and it is important that this tradition remains alive to truly make the Palace of Versailles a real experience.” Hence the drone dance which will replace, from July 27, the fireworks rockets during the Nocturnal Waters, so as not to frighten the horses in the Olympic stables, but also the exhibition Horse in majestywhich opens soon and highlights the quintessential symbol of equestrian art in Versailles. “Our kings were great sportsmen. […] This taste for performance and this form of heroism corresponds quite well to what we see on the walls and ceilings of the Château. We are truly in our mission.”
From the Orsay Museum to the residence of the Kings of France
For Christophe Leribault, art historian and general curator of heritage, notably at the Louvre, the Petit Palais and, recently, Orsay, the transition was brief, after an appointment that appeared to many as a surprise. Appointed on February 21, in the middle of the celebration of 150 years of Impressionism in Orsay, the director took up his duties at the head of Versailles on March 4. “It’s a new challenge that excites me, a return to my university roots. It’s a delight to find ourselves in such beautiful places, with solid, enthusiastic teams. We are all aware of being there to save a heritage, making it known, sharing it. It’s really a fascinating issue.” A happy man, whose profile contrasts with that of Catherine Pgard, network woman, former political journalist and advisor to Nicolas Sarkozy, but also with that of the two presidents before her, Christine Albanel and Jean-Jacques Aillagon, former ministers of culture . However, affirms Christophe Leribault, his role is not political. “The mission is diplomatic. The Palace of Versailles welcomes numerous delegations, major state dinners, summits, the Senate, I myself arrived on the day of the Congress… But the main issue for us is “is to welcome all these visitors, both French and foreign.”
Interest young people and create dialogue between eras
If 80% of visitors to Versailles are foreign tourists, there is no shortage of young people, explains the new president. Because the goal is to“open the castle as much as possible, without forgetting the young people along the way”. Transmitting History, beyond the tourist scope. “There are school children, we are pursuing a policy to bring young people from neighborhoods more distant from culture. […] But we also have to vary the programming: we had Versailles Electro, which attracted more than 18,000 young people to the stands. […] For many of them, I think it was their first discovery of the Versailles park. And we hope to find them very quickly.” Talk to young people, but also make this place full of history resonate with our times: “We must strengthen contemporary dialogue, which does not mean shocking, but creating dialogue, finding artists fascinated by Versailles, who will be aware of the scale of the place. It is a way of prolonging all the magic of the castle as well , for another audience, it’s really a place full of symbols, but it’s not just about the past. The goal is not to project anything into the audience. real dialogue with the artists But they are rather willing. […] Heritage is very alive, it must be shared.”
Versailles in music
A haven for baroque music since its origins, Versailles benefits from exceptional locations to host an ever more ambitious program of concerts, shows and ballets. “The Royal Opera, built for the wedding of Marie-Antoinette and the future Louis XVI, is perhaps the most beautiful opera in the world, like a violin, all in wood, splendid. An immense stage, a comfort, where it there is no place without visibility, which obviously needs to be brought to life. There is also a little gem, the Théâtre de la Reine, in the Jardins de Trianon, where a small opera by Vivaldi, who had, will soon be created. was commissioned by the French ambassador in Venice for the wedding of Marie Leszczynska and Louis A large-scale program in the tradition of the history of the place, and signed Château de Versailles Spectacles (CVS), a 100% private subsidiary which is also a record label and has a dedicated orchestra. In total, 15 to 30 publications per year are produced by the label: “It’s huge, but baroque music is a continent.” However, the Court of Auditors published a report a few months ago on public administrative management and the exceptional public aid received by CVS during Covid. Conclusions that the president of the Château does not seem to be too worried about: “It is the only opera that manages to survive without subsidies. It is a clever balance between the shows in the park, the large Nocturnal Waters, the ballets in the Hall of Mirrors… Few operas have more than 100 , even 120 curtain raisers per year, with quality shows, great singers, directors and many baroque ensembles, beyond our orchestra which, moreover, tours abroad, until Ulaanbaatar, a month ago. He’s an ambassador from Versailles.”
On the program this summer, you should not miss the Versailles group Air on the program of a concert with orchestra under the direction of Stéphanie-Marie Degand. Next season, Versailles will host great baroque works of course, from the best known to the rarest, but also dance and more recent repertoire. Let us note Carmen by Bizet in his version of the origins, on the occasion of the anniversary of his creation, but also the ballet Requiem(s) by Angelin Preljocaj.
