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Sabat Mater

Sorrow and light

Our motivation

Stabat mater - Mary's Faces, these well-known and lesser-known pieces, with the works from the Stabat mater written by Batista Pergolesi shortly before his early death, are without doubt pearls of classical music. This music and theme touch people of all ages and diverse backgrounds.

Bringing a performance on the theme of death and life to people's ears and faces during the Easter season brings awareness of the metamorphosis that nature goes through at this time of year. There can be insight into processes such as from a grain of sand to a pearl or from a caterpillar to a butterfly and about profound movements of living and dying that we all must undergo sooner or later.

At a time when the earth, our nourisher (mother), is in great upheaval and experiences destruction and exploitation daily and many people are fleeing or in life crises, it is a great need for us to set a sign for love and hope through art. Just as Pergolesi leads us with his music from death to resurrection and warms and touches our hearts. 

What is special about this performance?

Not only do we dare to use an unusual musical combination in the form of voice, flute and organ, i.e., three "wind players" in individual duets from Pergolesi's Stabat Mater, but we also incorporate the original form of theatre, Panto - Mime, which was originally a cultic gesture from antiquity.

Theos - God, Iatros - the doctor, theatre - the divine doctor, thus the reconnecting gesture in the form of pantomime.


Panto - the whole, mimein - to bring to representation. With subtle movements, with the face covered, gestures such as allusions to Jesus on the cross, the mother holding her son and the Last Supper are brought to life for the audience in a special new way. In silent sequences as well as to repeated motifs in the music. 

What does all this have to do with you? Why does this story still touch us so much today? What goes into Resonance? Resonare- sound? Sound?

In this project, the almost forgotten form of pantomime is brought back to the people in its original form.

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Lukas Dreyfus, pantomime

A central concern of his artistic work is to revive the largely forgotten elementary pantomime according to EG Böttger (founder of Mime Bern) and Paul Gerber's "theater du geste", which no longer exists in Biel / Bienne. His vision is to develop a form of theater therapy that deepens inner peace and expands consciousness.

He is a freelance mime artist and therapist.
For 5 years he has been running his own craniosacral therapy practice in Biel and St-Imier. He is currently completing further training in prenatal and childbirth therapy.

He has been practicing pantomime for over 10 years. He enjoyed many years of training in elementary pantomime with Christoph Stämpfli (Mime Bern) in Spiez and attended various actors and eurythmists such as Clemens Leuthard (CH) and Marc Belbeoch (FR). He attended courses at various theater schools: the school for extended theater in Berlin, the theater school at the Goetheanum in Dornach and the preliminary theater course at the HKB Bern.

In recent years he has realized his own pantomime projects in collaboration with other artists:

The Magic Flute - its essence, 4.9.2016 (Biel City Church)

Wrestling soul, May 28, 2017, pantomime piece with music, inspired by Goethe's Faust (Ligerz)

Several projects under the title Klangflügel (pieces with pantomime and music):

• Descent and devotion 11/5/2017
• Are born on December 24th, 2017
• Une vie 2.6.2018.

Lukas Dreyfus is continuously developing new pantomime pieces and regularly leads pantomime courses in Biel in the KuFa. In June 2018 he gave a teacher training course in pantomime at the Langenthal Music School. At the invitation of the Holy Land Trust Org., He taught in Bethlehem (Israel / Palestine) in August 2018. Further projects in cooperation with the University of Bethlehem are in preparation.

Andrea Ottapi Fattebert, flute

Après un diplôme d'enseignement de ûte à bec au Conservatoire de Lausanne, Andrea Ottapri Fattebert poursuit saformation au Center de musique ancienne à Genève dans la classe de Lorenzo Alpert, et chez Pedro Memelsdorff à Bologne. Elle étudie ensuite la ûte traversière baroque au-près de Serge Saitta à Lyon. Elle participe à de nombreux concerts en Suisse et à l'étranger avec différents ensemblesde musique ancienne (Modo antiquo de Florence, Weimar Baroque Ensemble, Ensemble vocal Hémiole), avant de seconsacrer davantage à l'enseignement. Le travail avec ses élèves l'amène à étudier la psychologie et à se special psychotherapy and psychanalysis.

Anne-Claude Burnande-Mauri, organ

Anne-Claude Burnand-Mauri a débuté ses études d'orgue à 14 ans dans la classe de Claude Reutter à Yverdon. Après un certi cat, elle a poursuivi ses études en classe professionnelle au Conservatoire de Lausanne dans la classe d'André Luy dans la-quelle elle a obtenu un Diplôme d'enseignement en 1986 ainsi qu'une virtuosité 1erPrix en 1989. Parallèllement, elle a tenu les orgues du Temple de Pully-Nord durant 7 ans, puis est devenue co-titulaire au Temple de Nyon durant 2 ans. Depuis 1991, Anne-Claude Burnand-Mauri est titulaire des orgues du Temple du Prieuré à Pully. Bien que donnant régulièrement des récitals, Anne-Claude Burnand apprécie tout particulièrement l'accompagnement de solistes instrumentistes et chanteurs ainsi que de choeurs. Elle a collaboré avec plusieurs choeurs, notamment pour l'interprétation du Requiem de Duru é à Saint-François et à Romainmôtier.

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