Les Musiciens Du Louvre-Grenoble, Marc Minkowski

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Les Musiciens Du Louvre-Grenoble, Marc Minkowski MINKO 6 avril pleyel:MINKO 6 avril 30/03/07 15:05 Page 1 VENDREDI 6 AVRIL – 20H Georg Friedrich Haendel Il Trionfo del tempo e del disinganno Première partie entracte Deuxième partie | 6 avril Vendredi Les Musiciens du Louvre-Grenoble Marc Minkowski, direction Olga Pasichnyk, soprano (la Beauté) Anna Bonitatibus, mezzo-soprano (le Plaisir) Nathalie Stutzmann, alto (la Désillusion) Stefano Ferrari, ténor (le Temps) Ce concert est surtitré. Les Musiciens du Louvre-Grenoble sont subventionnés par la Ville de Grenoble, le Conseil général de l’Isère, la Région Rhône-Alpes, le ministère de la Culture et de la Communication (DRAC Rhône-Alpes). Fin du concert vers 22h50. Les Musiciens du Louvre-Grenoble | Marc Minkowski Minkowski Marc | Musiciens du Louvre-Grenoble Les MINKO 6 avril pleyel:MINKO 6 avril 30/03/07 15:05 Page 2 MINKO 6 avril pleyel:MINKO 6 avril 30/03/07 15:05 Page 3 VENDREDI 6 AVRIL Synopsis Première partie Devant son miroir, la Beauté s’interroge et craint pour l’avenir. Le Plaisir l’incite à ne pas céder à la mélancolie mais le Temps et la Désillusion font leur apparition, cette dernière prédisant à la Beauté la perte prochaine de ses attraits. Le Plaisir se prépare au combat contre les deux trouble-fêtes. La Beauté appelle à son secours une armée de Plaisirs mais le Temps lui oppose une vision d’horreur : les tombeaux ouverts sur les restes de celles qui autrefois ont été belles. Le Plaisir célèbre, en duo avec la Beauté, l’insouciance de la jeunesse. La Beauté refuse de croire au Temps, qui est invisible. Le Temps et la Désillusion cherchent à la détromper mais le Plaisir présente l’étendue de son empire, notamment dans le domaine des arts : dans un récitatif expressif, il évoque un bas-relief allégorique représentant des cortèges de jeunes garçons couronnés de roses, triomphant de la douleur et bannissant les soucis. Une sonate brillante et un air du Plaisir évoquent ensuite les joies de la musique. La Beauté s’inquiète : le Temps ne viendra-t-il pas dissiper ces félicités ? Dort-il si l’on ne le voit pas ? La Désillusion et le Temps, tour à tour, montrent la course invisible et funeste du temps qui passe et emporte tout. Pour lui échapper, la Beauté doit aspirer au seul lieu où il est absent, l’Éternité. Un ensemble réunit les quatre protagonistes, la Désillusion et le Temps entraînant la Beauté sur la voie aride de la Vérité, tandis que le Plaisir cherche à la retenir sur la route fleurie du bonheur. Deuxième partie Le Temps présente l’allégorie de la Vérité, vêtue de blanc, tournée vers la lumière éternelle et portant le miroir du vrai. La Beauté suit le conseil du Plaisir et ferme les yeux devant l’éclat du miroir. Elle se désole de devoir quitter le Plaisir, qui lui reproche avec violence son infidélité. Irrésolue, la Beauté est finalement convaincue par la Désillusion, qui distingue le vrai Plaisir du simple plaisir terrestre et l’incite à ne pas craindre la route escarpée qui l’élèvera au-dessus du gouffre. Le Temps lui conseille la vraie prudence, celle du marin qui fuit devant la tempête. Dans un quatuor haletant, la Beauté est pressée de choisir. Tandis que la Désillusion évoque les larmes des repentants, le Plaisir, dans un dernier effort, implore la Beauté de cueillir la rose mais d’en laisser les épines. La Beauté cependant, prête au repentir, demande à nouveau l’épreuve du miroir du vrai. Soutenue par les injonctions sévères de la Désillusion, elle brise son propre miroir et regarde dans celui qu’on lui tend : elle s’y voit hideuse ! Elle se coupe les cheveux (comme un vaisseau alourdi qui jette à la mer ses trésors pour gagner plus sûrement le port), demande un cilice et décide, dans un récitatif émouvant, de se retirer dans un cloître. Le Temps et la Désillusion font l’éloge de ses larmes de contrition. La Beauté maintenant veut convertir le Plaisir, qui fuit, indigné. La Beauté reste seule, en prière. 3 MINKO 6 avril pleyel:MINKO 6 avril 30/03/07 15:05 Page 4 Georg Friedrich Haendel (1685-1759) Il Trionfo del tempo e del disinganno Première partie Sonata (Allegro/Adagio/Allegro) Aria : « Fido specchio in te vagheggio » (la Beauté) Recitativo : « Io che sono il piacere» (le Plaisir, la Beauté) Aria : « Fosco genio, e nero duolo » (le Plaisir) Recitativo: « Ed io che’l Tempo sono » (le Temps, la Désillusion) Aria : « Se la bellezza perde vaghezza » (la Désillusion) Recitativo: « Dunque si prendan l’armi » (le Plaisir, la Beauté, le Temps, la Désillusion) Aria : « Una schiera di piaceri » (la Beauté) Recitativo: « I colossi del sole» (le Temps) Aria : « Urne voi, che racchiudete tante belle » (le Temps) Recitativo: « Sono troppo crudeli i tuoi consigli » (le Plaisir) Aria : « Il voler nel fior degl’anni » (la Beauté, le Plaisir) Recitativo: « Della vita mortale» (la Désillusion, la Beauté) Aria : « Un pensiero nemico di pace » (la Beauté) Recitativo: « Folle, tu nieghi il tempo, et in quest’ora » (la Désillusion, le Plaisir, la Beauté) Aria : « Nasce l’uomo ma nasce bambino » (le Temps) Aria : « L’uomo sempre se stesso distrugge » (la Désillusion) Recitativo: « Questa è la reggia mia » (le Plaisir) Sonata Aria : « Un leggiadro giovinetto » (le Plaisir) Recitativo: « Ha della destra l’ali » (la Beauté) Aria : « Venga il tiempo, e con l’ali funeste » (la Beauté) Aria : « Crede l’uom ch’egli riposi » (la Désillusion) Recitativo: « Te credi che sia lungi, e il tempo è teco» (le Temps, la Beauté) Aria : « Folle, dunque tu sola presumi » (le Temps) Recitativo: « La reggia del piacer vedesti, or vieni » (la Désillusion, le Temps) Quartetto : « Se non sei più ministro di pene » (la Beauté, le Plaisir, la Désillusion, le Temps) Durée : environ 65 minutes. 4 MINKO 6 avril pleyel:MINKO 6 avril 30/03/07 15:05 Page 5 VENDREDI 6 AVRIL Deuxième partie Recitativo: « Se del falso piacere» (le Temps) Aria : « Chiudi, chiudi i vaghi rai » (le Plaisir) Recitativo: « In tre parti divise» (le Temps) Aria : « Io sperai trovar nel vero » (la Beauté) Recitativo: « Tu vivi invan dolente» (le Plaisir) Aria : « Tu giurasti di mai non lasciarmi » (le Plaisir) Aria : « Sguardo, che infermo ai rai del sol si volge » (le Temps) Aria : « Io vorrei due cori in seno » (la Beauté, la Désillusion) Recitativo : « Io giurerei, che tu chiudesti i lumi » (la Désillusion, la Beauté) Aria : « Più non cura » (la Désillusion) Recitativo: « E un ostinato errore» (le Temps) Aria : « E ben folle quel nocchier » (le Temps) Recitativo: « Dicesti il vero, e benché tardi intesi » (la Beauté) Quartetto : « Voglio tempo per risolvere » (le Temps, la Désillusion, le Plaisir, la Beauté) Recitativo : « Presso la reggia ove il piacer risiede» (la Beauté, la Désillusion) Aria : « Lascia la spina » (le Plaisir) Recitativo: « Con troppo chiare note» (la Beauté, la Désillusion) Aria : « Voglio cangiar desio » (la Beauté) Recitativo: « Or che tiene la destra » (la Beauté, le Plaisir, la Désillusion) Aria : « Chi già fu del biondo crine » (la Désillusion) Recitativo: « Ma che veggio, che miro» (la Beauté) Aria : « Ricco pino » (la Beauté) Recitativo accompagnato : « Si, bella Penitenza » (la Beauté) Duetto : « Il bel pianto dell’aurora » (la Désillusion, le Temps) Recitativo: « Piacer, che meco già vivesti » (la Beauté) Aria : « Come nembo che fugge col vento » (le Plaisir) Recitativo accompagnato : « Pure del Cielo intelligenze eterne » (la Beauté) Aria : « Tu del Ciel ministro eletto » (la Beauté) Durée : environ 70 minutes. 5 MINKO 6 avril pleyel:MINKO 6 avril 30/03/07 15:05 Page 6 C’est à Rome, au printemps 1707, que Haendel écrivit son premier oratorio. Parti en Italie par amour de l’opéra, dont il avait eu une première expérience à Hambourg, le jeune Saxon arriva dans la Ville éternelle à vingt-deux ans et trouva rapidement des protecteurs chez des princes de l’église amateurs de musique, tels les cardinaux Pietro Ottoboni et Benedetto Pamphili. Mais les représentations d’opéras étaient interdites dans les États pontificaux depuis 1681 et Haendel s’occupa surtout à composer de nombreuses cantates profanes, pour les concerts privés, des oratorios et des motets. Dès les premiers mois de son séjour, Haendel entra en relation avec le cardinal Pamphili, écrivant tour à tour une cantate très profane (Il Delirio amoroso) et un oratorio sagement moralisateur (Il Trionfo del tempo) sur les vers de ce poète arcadien, neveu du pape Innocent X et protecteur du Collegio Clementino où la tradition de l’oratorio était fortement enracinée. C’est pourtant sans doute chez le cardinal Ottoboni que le Trionfo del tempo fut créé. On raconte que le célèbre Corelli, dirigeant du violon l’orchestre privé du cardinal, fut si décontenancé par l’ouverture à la française initialement prévue, que Haendel la troqua rapidement pour une ouverture en style italien. Le genre de l’oratorio romain est multiforme. Si l’on connaît surtout actuellement les fresques bibliques d’un Carissimi, nombre d’oratorios ou de cantates spirituelles apparaissent moins narratifs qu’allégoriques, descendant en cela en ligne directe du premier oratorio connu, la Rappresentazione di Anima e di Corpo d’Emilio de’ Cavalieri, mettant en scène dès 1600 le débat entre l’âme et le corps. Dans le Trionfo de Pamphili et Haendel, c’est la Beauté qui se trouve partagée entre les attraits du Plaisir et les appels à la repentance du Temps et de la Désillusion (allégorie que Haendel transformera, dans les versions ultérieures de son œuvre, en Vérité). Qu’il soit narratif, épique ou allégorique, l’oratorio bannit toute représentation scénique. C’est à la musique de brosser le décor, de peindre les caractères, de décrire l’action. Comme ses contemporains, Haendel puise dans le style de l’opéra tous les artifices qui lui permettent de mener à bien ce projet, et l’on découvre ici sous sa plume des airs guerriers (« Una schiera di piaceri » de la Beauté), des airs de tempête (« E ben folle» du Temps), des airs de fureur (« Tu giurasti », où le Plaisir reproche à la Beauté son infidélité, tel un amoureux éconduit).
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