Multiple aesthetics at the 75th Besançon Festival

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Besancon. Ledoux Theatre. 10- 9-2022. Maurice Ravel (1875-1937): Left-hand concerto. Franz Liszt (1811-1886): Faust Symphony. With: Philip Cassard, piano. Liege Royal Philharmonic Orchestra, conductor: Gergeli Madaras

Ledoux Theatre. 11-ninth-2022. Alexandros Marques (born 1965): Microscope, narrative opera on the text of a libretto by Pierre Senges. Director: Théophile Alexandre. With: Nicolas Dufour, narrator. La Maîtrise de Dôle (Chorus Director: Patrice Roberjot) and Orchestra, Directed by: Nicolas Charrière

St. John’s Cathedral. 12-IX-2022: La Bomba Flamenca (works by Clément Janequin, Mateo Flecha, Pierre de Manchicourt, Cristóbal de Morales, Nicolas Gombert, Juan del Encina, Thomas Crequillon, Pedro de Escobar, Marbrianus de Orto, Antonio de Cabezón; Codex Calixtinus, traditional Andalusian song, Llibre Vermell de Montserrat, Christian Mozarabic song, traditional Moroccan Samaa song, Cantigas de Santa Maria). Planning, Creativity, and Arrangements: Simon-Pierre Bestion. With: Amelie Bertrand, Soprano. Anais Bertrand, Mezzo-soprano; Edward Munjanel bin Said, tenor; Emanuel Iraola, Bass. Storm, direction: Simon-Pierre Bestion

In its seventy-fifth edition, the Besançon Festival matches music and heritage.

Alexandros Marques: New Resident Composer

The free traditional opening concert now carries the original symphonic objective of the Besançon Festival. Michael Schonwant conducts the enhanced French Youth Orchestra around the fine violin of Sarah Nemtanou in Spanish Symphony. Stunning sound system that’s as big as Lalo as Ravel (Daphnese and ChloeAnd that Lily Boulanger (The Rare and the Beautiful from spring morning). The next day, a battle in the fresh air (Mozart Salieri) takes on her heels almost all her audience in crowded Kursaal to discover the new composer in residence: Alexandros Marques. luminous Barrier No. 1 by Hummel (another author in the shadows cast by another genius: Beethoven) preceded byGreetings to Salieri, Another Barrier, by Markeas. Led by an actor with the right tone (Quentin Juy) and roughened up by a sound system that provides only a few pieces of text, Greetings to Salieri He calls his audience to distrust certain films of Milos Forman, going so far as to question him face to face: ” What kind of audience are you? Wise, especially in the face of Marquis’ piece, bravely performed by The Tetractis directed by Laurent Comte: an adaptation of 1999 that, after the seductive residences of Guillaume Connesson, Eric Tanguy and Camille Pépin, seems to be returning to the experience of a time we thought was over.

Rapid evaluation, invalidate the next day by microscope, an opera story of children’s voices to the glory of Louis Pasteur. lasts 45 minutes, microscope It is an order from the Maîtrise de Dôle. Claims to be interested in the first place What is at stake about composition ” Such as “ plurality of aesthetics “,” the Greek composer, fond of method, and improvisation (as evidenced by his piano response to the impromptu ringing of a mobile phone in the middle of a music meeting, accompanied by Arnaud Merlin, in Jack Kreisler’s ballroom!), easily flows into opera specifications with a child’s voice. The melodic lines are smooth and loose. And we will gladly resume as an apparition, instead of Whoever wants to drown his dog accuses him of rabiesFew From here to the end, the most striking number in the result. Prepared by young singers Patrice Roberchot (for voice) and Théophile Alexandre (for body). Dressed in white, or dressed as microbes being chased into the room via a Molaric syringe, boys and girls, who were british kidsThey sang as they danced this poem to the inventor of the vaccine, who was a black sheep alone against all, today a nod on which two years of a pandemic were based when the Bastyr country had to rely on vaccines from elsewhere. The sense of humor in Pierre Senges’ written text, which the sound system does not always make visible in choral scenes, comes by itself in the spoken interventions of the excellent Nicolas Dufour. Nicholas Charrier leads a group of nine instrumentalists (wind and percussion) to the hole, colored by an original soloist: a satirical sliding oboe for a theme that has become flammable.

Homecoming

Philip Cassard and Gergeli Madaras: The other “Country Kids” (born a stone’s throw from the Ledoux Theater and the latter a 2011 finalist in the Young Leaders Competition) come together in a huge, dark show. With his left hand alone, the pianist celebrates his 50-year career with a concerto composed by Ravel in 1932 by Paul Wittgenstein, deprived of his right hand in a ratio of 14-18: five fingers for the thousand of the hundred instrumentalists of the Royal Philharmonic Orchestra of Liege! From this David’s fight against Goliath (as the festival chief warns), the first tempo forces a muscular game before immersing in the skilful lines of this groundbreaking score of aesthetic pluralism, as the scoundrel rubs with fervor. Although sometimes covered in the full power of tutti, Philip Cassard’s interpretation leaves you speechless before you find peace with moon light Sovereign who allows the deposter with the sense of humor that he is, that ” Check if the right hand is still working. »

It passed, between 1857 and 1880, from sixty-five to eighty minutes, and Faust Symphony It represents the fulfillment of Faustian’s passion for Liszt, who ended up adding what was his first orchestral composition, mystic chorus With a solo tenor intended to hear, similar to Mahler, a few verses from Faust II Goethe. This is the original version, without lyrics but amplified by the brass and percussion composer, which Madaras directs this evening. The chance to appreciate Liszt’s symphonic style and be amazed again, while Berlioz’s boldness still gives way today to Liszt’s indulgence doubts. during its three movementsFaust, Margaret, Mephistopheles), we note again the melodic prose, the orchestral dryness, as if there was a line missing in the score, like a recipe deprived of one of the ingredients that makes it most recommended. Brilliant Battalion is not in question and Madaras, who has been its music director since 2019, derives what he can, in terms of excitement, from extreme movements such as the intimacy surroundings of the central movement. But he seems helpless in the face of the last strings of apotheosis, waiting in vain. Berlioz and Wagner were present at the 1857 premiere. We’d like to know beyond acknowledgment that the author of Condemnation of Faust (Born 11 years ago, and dedicated to … Liszt) owes to his ardent defender the unspoken opinion of the illustrious coordinator of La Côte Saint-Andre, who in 1860 divided only five words about Faust Symphony (Dedicated to … Berlioz): “ it’s a great job. »

Grand Mock Requiem for Charles V by storm

In the eighties, there was the enthusiasm of Giardino Armonico at the Besançon Festival. This phenomenon is repeated with La Tempête, a true “oral machine”. The band founded by Simon Pestion is invited for the fifth time to the old Spanish town, about which Bernard Gavotti said: “ There are places where music naturally fits into the décor, and Besançon is among them. The Tempest places its front mounts in the venerable Saint-Jean Cathedral, whose architectural features have disappeared in the mist of smoke bombs and incense in abundance before the first spectator enters. A perfect machine to go back in time to that of Charles V, whose funeral Bestion vowed to organize (a justifiable tribute, given the city’s Spanish past, is more so than that envisaged in France for some modern English sovereign). Simon-Pierre Pestion tells us that Philip II’s father, as a man who wanted to control everything, even beyond, fancied his own soundtrack. Through his own talent, the conductor of La Tempête enlivens by burying the memory of this music-loving king, like musical richness at a time when aesthetic pluralism was already essential and he sees “ At the crossroads between the medieval world and the world that will represent the great discoveries of the ancient continent “. The Mock Requiem for Charles V (” By no means a historical reenactment », prévient-il aussi) fait se côtoyer la musique de l’Al-Andalus et les musiques flamandes (Charles Quint fut Duc de Bourgogne et donc des Flandres) qui, importées dans cet environnement arabo-andalouet, firent’ l bomb. This is explained by the title (La Bomba Flamenca) that may have been born among the scattered hope of a flamenco party… two beams of light arranged on either side Codex Calixtinus A cappella before drums, trombone, cornice and sackbuts give The the great way toccata From OrfeoThe splendor of the party whose voice will be transmitted by CristwhereMorales ball of the traditional Andalusian song, from free montserrat algae To Antonio de CapizwhereNot. Whether they walk in a procession, dance, or pass by streams of light adorning the vaults with moving rings, La Tempête singers are everywhere. Four solo voices stand out, as well as the voice of the conductor who reserved himself, as in Hypnos, Ritual intonation. Instrumentalists add their vocals to a few peaks. The orchestral, majestic, extremely rich workforce (harp, thorbo, guitars, percussion, etc.) includes various companions (violins, doulcianes, horns, etc.) mass Berlusian. Light comes from everywhere, including the red cutouts with Moorish outlines responsible for warming the place. Even the organist, led by Marianne Belserve, happens to shiver in the light of musical passion. It is sumptuous and luxurious, intimate and deep, hypnotic and endlessly delicious from start to finish (the announced twenty hour approaching the fiftieth hour) until the appearance of an irresistible: a galvanized gospel that travels like a prescient from the Spanish coasts to Harlem, which logically falls into the lesson of musical history undertaken Thought down to the smallest detail by Simon-Pierre Bestion, whose pregnant energy energizes in a plethora of cosmic-familiar gestures, she finds solace in a thunderous, reserved applause.

Image credits: © Yves Petti

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More details

Besancon. Ledoux Theatre. 10- 9-2022. Maurice Ravel (1875-1937): Left-hand concerto. Franz Liszt (1811-1886): Faust Symphony. With: Philip Cassard, piano. Liege Royal Philharmonic Orchestra, conductor: Gergeli Madaras

Ledoux Theatre. 11-ninth-2022. Alexandros Marques (born 1965): Microscope, narrative opera on the text of a libretto by Pierre Senges. Director: Théophile Alexandre. With: Nicolas Dufour, narrator. La Maîtrise de Dôle (Chorus Director: Patrice Roberjot) and Orchestra, Directed by: Nicolas Charrière

St. John’s Cathedral. 12-IX-2022: La Bomba Flamenca (works by Clément Janequin, Mateo Flecha, Pierre de Manchicourt, Cristóbal de Morales, Nicolas Gombert, Juan del Encina, Thomas Crequillon, Pedro de Escobar, Marbrianus de Orto, Antonio de Cabezón; Codex Calixtinus, traditional Andalusian song, Llibre Vermell de Montserrat, Christian Mozarabic song, traditional Moroccan Samaa song, Cantigas de Santa Maria). Planning, Creativity, and Arrangements: Simon-Pierre Bestion. With: Amelie Bertrand, Soprano. Anais Bertrand, Mezzo-soprano; Edward Munjanel bin Said, tenor; Emanuel Iraola, Bass. Storm, direction: Simon-Pierre Bestion

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