©Didier D. Daarwin - AKA Design


This programme is the reflection of A Filetta’s new album Castelli (World Village/Harmonia Mundi, August 2015).

Castelli ...
The castles…
Edifices of the past, places of memory that dominate history but also castles in the sky, sand castles or houses of cards… Impermanence.

This new programme resonates like so much questioning of the dream, nostalgia, illusion, utopia, the meaning of life : what is left of everything you have told me ? What is left of everything we have built or perhaps even everything we thought of building ? Are there still gaps to discover, spaces to imagine, other edifices to conceive?

Doubtless there are, but above all, let's remain what we are, quite simply…

The religious and secular pieces included here, written for theatre, for dance and for cinema, are influenced as much by Shakespeare and Fernando Pessoa as by anonymous writers, all driven by the same humanist vision. With an open-minded musical approach that juggles notions of memory, nostalgia and utopia, these songs also question the meaning of life and seem to echo Jorge Luis Borges’ universally relevant phrase: “Basically, I am all that I ever lost...”

Audio extracts


©Didier D. Daarwin - AKA design

On the one hand the captivating and velvet tones of Fadia Tomb El-Hage, on the other the voices of the A Filetta choir.

United for the first time by the choreographer Sidi Larbi Cherkaoui for his production entitled Puz/zle, presented in Avignon in 2012, it was at the request of the Ile-de-France festival that the artists created this concert version.

In this show a capella appears in all its purity. Sacred and profane songs, sung in Corsican, Arabic or Syriac, they bring together two universes and musical traditions of which the osmosis is a result of a great ability to listen and a perfect complementarity between the artists.

If each of them keeps their specificity, these conversations open imaginary spaces which are gently traced through the voices' melismata and the fusion of timbres.

From this encounter was born a unique symbiosis, a limpid polyphony, a poetic and timeless harmony which fuses Corsican and middle-eastern repertories.

"A Filetta is a polyphonic group that sing with a single voice; as for Fadia, singing alone she sings like an entire choir. When you hear them together you get the impression of hearing the entire planet".
Sidi Larbi Cherkaoui

Request of the Festival d’Ile-de-France - 2013.
« Puz/zle » Co-production : Festival d’Avignon 2012, De Singel International Arts Campus – Anvers, Sadler’s Wells – Londres, Opéra de Lille, Theaterfestival Boulevard – ‘s Hertogenbosch, Les Théâtres de la Ville de Luxembourg, La Filature Scène nationale – Mulhouse, Festspielhaus – Sankt-Pölten, Fondazione Musica per Roma, Düsseldorf festival! Eastman est en résidence au deSingel International Arts Campus-Anvers et reçoit le soutien des Autorités flamandes et de la Fondation BNP Paribas.

Audio extracts


Photo : Sébastien Cholier


October 2006, « L’Aghja », a small theatre in Ajaccio, celebrated its twentieth birthday. For the occasion  Francis Aïqui, its director and jazz enthusiast, decided to bring together jazz musicians and Corsican polyphonic singers. This resulted in the meeting of A Filetta, Paolo Fresu and Daniele di Bonaventura. It was artistic love at first sight and gave birth to their first project « Mistico mediterraneo », which was recorded and published in early 2011 by ECM.


After this success and several dozen concerts, they all decided to continue together. This time it was a musical and vocal work with as its theme the complementary and contrasting perspectives of two men, both islanders, both exceptional and having marked the twentieth century: Aimé Césaire, writer, poet and playwright from Martinique and Jean Nicoli, a teacher and resistance fighter who was executed in 1943 by the fascist Italian occupying forces. The two men had in common their political engagement and humanism, notably through their judgement of colonialism.

« If we have decided to bring together these two thinkers in our next show, it is simply to remind us, again and again, that behind the grandeur of these men that we celebrate for their commitment and sacrifice, there is the idea for and by which they lived and died: that of a world which is fairer, freer, more respectful of differences, more equitable and with more solidarity ».

Corsicans and Italians, polyphonists and jazzmen, all deep rooted musicians, voice, trumpet and bandoneon contribute to bringing out the ideals but also the dreams of these “cloud princes” by offering a mixed music that belongs to no-one precisely because it belongs to everyone.

Audio extracts


© Didier D. Daarwin


Ce concert présente un répertoire de chants sacrés consacrés à la passion du Christ et à la liturgie des défunts.

En Corse, comme dans d’autres îles de la Méditerranée, le rapport à la mort est complexe et omniprésent. La tradition orale vocale s’est largement développée au cours des siècles autour de répertoires consacrés à la passion du Christ et à la liturgie des défunts. La mort arrache en même temps qu’elle réunit et soude ; elle réconcilie aussi, et place la communauté face à une même douleur lui rappelant la précarité de sa condition tout en lui forgeant le sentiment qu’elle partage par là même, un vieux rêve d’éternité.

Ces chants profonds comme la nuit, profonds comme l'espoir nous disent la vie d'une terre très ancienne. Ces chants d'avant le verbe affleurent à nos mémoires comme un antique et tendre souvenir : elles vous parlent à la peau aussi bien qu'à l'oreille, puis elles vous enveloppent dans leur trame légère, tissée d'un fil solide qui jamais ne se rompt. Dominique Bianconi

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Composition of the choruses for Seneca’s Medea:

The inspiration for this work came partly from the maze of the island’s oral memory; there are also influences from other vocal traditions of Corsica which the singers of A Filetta have been collecting since the Rencontres de Chants Polyphoniques of Calvi first began. Four long choruses lasting a total of about 48 minutes, evoking the past loves of Medea and Jason, the epic of the Argonauts and finally the murderous fury of the repudiated wife, banned from the kingdom. A sometimes harsh music which is often tender and even fragile but which always expresses the violence of the feelings and the fear of men in face of the anger of the gods.

The repertoire of Medea was first recorded in 2005.

National release of the album MEDEA, June 2006 (Naïve).

Audio extracts
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creation site internet en corse : www.castalibre.com