During the second weekend of the 44th edition of the Strasbourg Musica festival, the focus shifted to contemporary Irish musical creation. The event highlighted The Curing Line, an operatic theater piece set to debut in Paris later this year. Stéphane Roth, who took over as festival director in 2019, has guided Musica to expand its scope beyond traditional contemporary music, incorporating genres like electronic, pop, and folk. The 2026 edition, which runs until October 4, centers on the human voice and includes a cross-disciplinary program over three weeks in Strasbourg, with satellite events in nearby Colmar and Mulhouse. This second weekend was dedicated largely to Irish sounds, a tribute to Ireland’s presidency of the Council of the European Union from July 1 to December 31, 2026. A special programming called Prospective Irlande explored the breadth of contemporary Irish music. The events took place in churches across Strasbourg, both Catholic and Protestant, during the visit of Pope Leo XIV to France. However, the festival avoided featuring strictly religious music. The concert marking the beginning of Prospective Irlande on Friday evening was held in the Protestant church of Saint-Pierre-le-Jeune. The female quartet Landless performed a repertoire of a cappella folk songs with a feminist perspective. Their performance was relatively subdued, except for the last two or three songs, which showed greater intensity. The opening evening continued at the church of Saint-Paul with a concert honoring the Crash Ensemble, a group known for its eclectic and innovative programming. The final part of the concert, featuring the ensemble and singer Rachael Lavelle, reached high intensity and showcased a dynamic fusion of styles. On Saturday evening, the church of Sainte-Aurélie hosted violinist Martin Hayes, accompanied by Brian Donnellan on the bouzouki and concertina. Later, cellist Kate Ellis joined the performance, adding depth and richness to the music. On Sunday, Kevin Fowley performed an intimate recital at the Protestant church of Saint-Pierre-le-Vieux, blending reimagined French lullabies with an unpublished Anglophone composition. Later in the afternoon, The Curing Line was performed at the Cité de la musique et de la danse. Composed by Michael Gallen, the piece is an ultra-modern fable exploring themes of care and transmission, blending liveliness with inventiveness. The Musica festival continues until October 4 in Strasbourg, Colmar, and Mulhouse. The Curing Line is scheduled for November 27 and 28 in Paris at Théâtre de la Ville as part of an Ireland Focus, further highlighting the festival’s commitment to showcasing diverse and innovative musical expressions.