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LA CROIX (FR) | 08/05/2026 – Emmanuelle Giuliani
“[…] Magnificently illuminated and the result of meticulous, millimetre-precise work, Locura nevertheless offers the spectator an exhilarating sense of freedom, even of improvisation—an aesthetic quality inherent both to the Baroque spirit and to contemporary expression. Without imposing any particular message, Mourad Merzouki, Franck-Emmanuel Comte, and their team persuade us that, far from opposing one another, artistic languages have much to share across centuries and geographical boundaries, as long as they are approached with seriousness, elegance, and imagination.”
CONCERTCLASSIC.COM (FR) | 11/05/2026 – Laurent Bury
« Au lieu de se contenter d’un placage brutal, ce nouveau spectacle fait l’effort de réellement associer la musique et la danse […]. Pour ce concert sans décor mais où les éclairages sculptent admirablement l’espace, les cinq danseurs n’arrivent pas vêtus portent des costumes noirs et or, et leurs évolutions sont réglées avec un réel souci d’ensemble, d’harmonie et d’élégance. […] Menés par Franck-Emmanuel Comte au clavecin, les sept instrumentistes du Concert de l’Hostel Dieu trouvent tour à tour des occasions de briller, comme lors du solo accordé au percussionniste, ou de ce duel pendant lequel les violonistes se retrouvent juchés sur les épaules des danseurs. »
TOTAL BAROQUE (FR) | 14/05/2026
« Au Théâtre du Châtelet de Paris et true to his spirit of artistic exploration,Franck-Emmanuel Comte and the musicians of his ensemble, Le Concert de l'Hostel Dieu, presented Locura in collaboration with choreographer Mourad Merzouki and the Käfig Company. It was an exhilarating evening in which Baroque music and singing entered into dialogue with the rhythmic energy of hip-hop dance. Driven by inventive visual aesthetics and striking lighting design, this show centred on the theme of madness gradually won over the entire audience.”
BAROQUIADES (FR) | 18/05/2026 – Bruno Maury
“[…] The concept of dialogue is undoubtedly the most striking feature of this production. Indeed, it does not merely juxtapose hip-hop choreography with Baroque musical pieces: the singer as well as the instrumentalists of Le Concert de l'Hostel Dieu take full part in the performance. The two violinists even immerse themselves in it with enthusiasm: they whirl about, moving like fencers along the length of the stage, where they pass by, carried on the dancers’ shoulders, while continuing to play their instruments unfazed. […] The result is both surprising and captivating, visually as well as musically. […]”