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The Tempest Inspired by Shakespeare Locke / Purcell / Martin / Hersant / Pecou La Tempête Simon-Pierre Bestion Menu

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The Tempest Inspired by Shakespeare Locke / Purcell / Martin / Hersant / Pecou La Tempête Simon-Pierre Bestion Menu THE TEMPEST INSPIRED BY SHAKESPEARE LOCKE / PURCELL / MARTIN / HERSANT / PECOU LA TEMPÊTE SIMON-PIERRE BESTION MENU TRACKLIST THE�TEMPEST FR / ENG / DEU SYNOPSIS��FR�/�ENG�/�DEU TEXTES CHANTÉS / SUNG TEXTS� BIOS FR / ENG / DEU 3 THE TEMPEST INSPIRED BY SHAKESPEARE LOCKE / PURCELL / MARTIN / HERSANT / PECOU PROLOGUE / OUVERTURE ACTE II Matthew Locke (v. 1621 – 1677) SCÈNE 1 The Tempest (1667) Philippe Hersant (1948) 1 INTRODUCTION 1'12 9 FALLING STAR (2005) 8'58 2 GALLIARD 1'28 3 GAVOT 1'21 SCÈNE 2 Matthew Locke 10 CURTAIN TUNE 2'18 ACTE I Henry Purcell SCÈNE 1 Z135 (v.1682) Giovanni Battista Draghi (v. 1640 – 1708) 11 JEHOVA QUAM MULTI The Tempest (1667) SUNT HOSTES MEI 5'47 4 DANCE OF FANTASTICK Matthew Locke SPIRITS 2'22 12 RUSTICK AIR 1'12 SCÈNE 2 Henry Purcell (1659 – 1695) Anthem Z24 (v. 1682) 5 LET MINE EYES RUN DOWN WITH TEARS 8'58 Frank Martin (1890 – 1974) Songs of Ariel (1950) 6 COME UNTO THIS YELLOW SANDS 1'56 7 FULL FATHOM FIVE 3'52 Matthew Locke 8 LILK 1'50 4 ACTE III ACTE V SCÈNE 1 SCÈNE 1 James Hart (1647 – 1718) Henry Purcell The Tempest (1667) Anthem Z36 (v.1679-81) 13 DORINDA'S SONG 3'38 21 O GOD, THOU HAST CAST US OUT 4'11 SCÈNE 2 Frank Martin Thierry Pécou (1965) 22 WHERE THE BEE 14 A CIRCLE SUCKS 1'13 IN THE SAND (2001) 9'00 Matthew Locke SCÈNE 3 23 CANON À QUATRE 1'16 Matthew Locke 15 SARABAND 2'25 EPILOGUE Henry Purcell Frank Martin Anthem Z15 (v.1685) 16 YOU ARE THREE MEN 24 HEAR MY PRAYER, OF SIN 4'31 O LORD 2'04 Matthew Locke 17 MINOIT 0'49 TOTAL TIME : 80’33 ACTE IV SCÈNE 1 Frank Martin 18 BEFORE YOU CAN SAY 'COME' AND 'GO' 1'06 Thierry Pécou 19 POUR UN RITUEL IMAGINAIRE (1991-92) 7'38 Matthew Locke 20 MARTIAL JIGG 1'16 5 SIMON-PIERRE BESTION DIRECTION CHANTAL SANTON-JEFFERY SOPRANO CHOEUR (DORINDA’S SONG*) LUCILE RICHARDOT MEZZO-SOPRANO ANAËL BEN SOUSSAN (A CIRCLE IN THE SAND*), (YOU ARE THREE MEN OF SIN*) CAMILLE CHAGNON, CÉCILE DUROUSSAUD, BRUNO LE LEVREUR ALTO ELLEN GIACONE, ALICE KAMENEZKY YU SHAO TÉNOR (HEAR MY PRAYER, O LORD*), ARMELLE MARQ, LISANDRO ABADIE BASSE MARION THOMAS, EVELYN VERGARA SOPRANOS ORCHESTRE CÉCILE BANQUEY, EUGÉNIE DE MEY, CAMILLE ANTOINET VIOLON 1 (A CIRCLE IN THE SAND*) MATHILDE GATOUILLAT, MYRIAM JARMACHE, TIPHAINE COQUEMPOT VIOLON 2 ALINE QUENTIN, CÉLIA STROOM ALTOS LIKA LALOUM ALTO SÉBASTIEN MARQ FLÛTES À BEC NICOLAS DROUET, RICHARD GOLIAN, LAURA DUTHUILLÉ HAUTBOIS & FLÛTES À BEC JOËL ROESSEL, SAMUEL ROUFFY, LUCILE TESSIER BASSON ET FLÛTES À BEC VIVIEN SIMON (HEAR MY PRAYER, O LORD*), VINCENT BLANCHARD HAUTBOIS RYAN VEILLET (A CIRCLE IN THE SAND*) TÉNORS PIERRE RINDERKNECHT THÉORBE JULIE DESSAINT VIOLE DE GAMBE ADRIEN BÂTY, JEAN-CHRISTOPHE BRIZARD (FALLING STAR*) (A CIRCLE IN THE SAND*), ARTHUR CADY, YOUEN CADIOU CONTREBASSE THIBAUT JACQMIN, YOANN MOULIN CLAVECIN ET ORGUE FLORENT MARTIN (HEAR MY PRAYER, O LORD*), MICHÈLE CLAUDE PERCUSSIONS EUDES PEYRE, RENÉ RAMOS BASSES GEOFFROY BERTRAN SIFFLEUR (A CIRCLE IN THE SAND) *SOLISTES 6 7 MENU NOTRE ÎLE IMAGINAIRE Aux origines de ce projet ambitieux, The Tempest (1611) de William Shakespeare (1564-1616) s’est imposé à moi pour exprimer les différents aspects de notre recherche et de notre travail. Tout d’abord, tout comme cet opus testamentaire et emblématique du dramaturge anglais explore les multiples facettes de la complexité humaine, notre programme traverse librement la diversité des époques et des styles musicaux, sans se limiter aux œuvres écrites pour la pièce. Cette large exploration du répertoire, miroir de l’esprit pluriel de The Tempest, offre pleine licence à l’émotion et fonde l’identité de notre compagnie. L’autre point de rencontre fondamental entre notre travail et la tragicomédie de Shakespeare est l’importance accordée à la nature et à ses éléments, l’attrait d’un autre monde et de l’inconnu – le titre de la pièce et le nom de notre compagnie en témoignent d’emblée. À travers nos choix musicaux se déroulent les paysages imaginaires de l’île enchantée, se traduit la psychologie de certains personnages, s’incarnent des allégories… À l’écoute de l’enregistrement, l’auditeur retrouvera la dramaturgie originelle, mais n’en verra pas pour autant l’exacte illustration : la pluralité des approches et le croisement des époques, des esthétiques et des langages – fruits d’un fin travail de transcription de l’atmosphère et de l’esprit de l’œuvre – créent un univers fantastique, une île qui nous est propre et reflètenotre interprétation de The Tempest. Cet assemblage musical a priori déroutant échappe ainsi à la paraphrase, stimule l’imaginaire et provoque un éveil constant et inconscient de l’auditeur, plongé comme en une sorte de récit de voyage aux multiples conteurs. Ici réside une autre ambition propre à notre compagnie : perturber notre tranquillité afin d’exciter l’esprit et de l’emporter vers un ailleurs inconnu, de la même façon que Shakespeare, par son voyage en terre étrangère, pousse à l’introspection et la réflexion. 8 MENU FAIRE SENS DANS LA DIVERSITÉ DES RÉPERTOIRES C’est la Tempest de Matthew Locke (1621-1677) qui m’a convaincu d’associer des musiques aux langages parfois très éloignés. Les pièces instrumentales ici sélectionnées, conçues pour l’opéra inspiré par The Tempest de Thomas Shadwell (1642-1692), ne sont en effet pas narratives et ont le pouvoir, supérieur à celui de décrire, de suggérer des actions ou des atmosphères de la pièce. Locke avait choisi un ordre très précis dans la version de 1674, que j’ai maintenu ou perturbé afin de trouver un sens propre à l’histoire de notre temps. Cette même version regroupait des airs, récits, pièces instrumentales, chansons et chœurs composés par des contemporains de Locke. Ce genre d’opéra collectif, alors fréquent, m’a conforté dans mon choix d’un assemblage bigarré. J’en ai gardé la touchante plainte amoureuse de la Dorinda’s Song de James Hart (1647-1718) et la Dance of Fantastick Spirits de l’Anglo-Italien Giovanni Battista Draghi (1640-1708), particulièrement évocatrice des déchaînements de la tempête. Concernant l’instrumentation, je me suis inspiré des usages en vigueur en Angleterre et en France à cette époque, mais aussi d’autres opéras de Locke. Il m’a paru naturel de rehausser les couleurs de l’orchestre selon le caractère des pièces et leur situation dans l’intrigue afin d’intensifier leur tempérament. J’ai également ajouté librement une partie de percussions : la majeure partie de ces pièces étant des danses inspirées de la musique populaire, ce mélange aurait pu avoir lieu à l’époque de Locke. Henry Purcell (1659-1695) est l’autre compositeur anglais baroque auquel je me suis intéressé, l’un des plus shakespeariens du XVIIe siècle mais aussi des plus intemporels. On a longtemps pensé qu’il avait écrit une musique pour le semi-opéra de Shadwell – à tort, mais cela ne retire en rien à l’évidence dramatique de sa musique, notamment de The Fairy Queen, inspiré du Songe d’une nuit d’été de Shakespeare. Il paraît évident que Purcell connaissait parfaitement The Tempest. J’ai voulu retenir ici sa musique sacrée plus que sa musique de scène. Écrite en majeure partie autour de 1680-1682, quelques années après la Tempest de Locke, elle est à mon sens sa plus belle, sa plus intime du point de vue du contrepoint, de la pureté de la 9 MENU ligne et de l’intensité. Elle m’a semblé traduire la part universelle et spirituelle de l’œuvre de Shakespeare – une sorte d’allégorie de la vision du Bien et du Mal de Prospero ou de Caliban. Et la sobriété confondante de Hear my prayer m’a immédiatement évoqué l’ultime monologue-profession de foi de Prospero. En effectuant un grand saut dans le temps, j’ai débusqué le singulier Frank Martin (1890-1974). Pianiste et claveciniste, défenseur de la musique baroque, notamment de celle de Bach, il a enrichi le répertoire choral a capella du XXe siècle de deux chefs-d’œuvre : l’imposante Messe à double chœur (1922) et les superbes Songs of Ariel (1950), tirées de The Tempest de Shakespeare. En 1952, il écrira tout un opéra sur le livret de The Tempest : Der Sturm. Il y intégrera en l’état ses pièces chorales pour figurer les interventions d’Ariel, exécutées par un chœur depuis les coulisses. Shakespeare lui-même souhaitait que certains passages d’Ariel soient chantés. J’ai donc choisi d’intégrer ces cinq pièces, imbriquées de façon très précise dans le déroulement du programme. Tout comme les œuvres instrumentales de Locke, les Songs of Ariel rythment l’intrigue et harmonisent l’ensemble. De nature descriptive, intrigante, colorée et souriante, elles reflètent parfaitement la légèreté et l’impalpable présence de l’esprit des airs. Certainement très inspiré par la musique vocale de Frank Martin, Philippe Hersant (né en 1948) manifeste lui aussi un certain amour pour la musique anglaise, notamment celle du XVIe siècle. Avec Falling Star (2005), profondément mélancolique et marqué par la présence de la viole de gambe, il rend hommage aux grands madrigalistes anglais. Hersant y convoque deux contemporains de Shakespeare, auteurs de poèmes métaphysiques évoquant leur vision allégorique de la mort et du surnaturel : John Donne (1572-1631) et Henry King (1592-1669). L’œuvre de Hersant s’articule autour de la dualité des deux poèmes, l’un chanté par les femmes l’autre par les hommes. Les voix se rejoignent ensuite dans un climax lumineux qui s’affaiblit avant de mener à une conclusion apaisée.
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