Discographie 2007

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Discographie 2007 Discographie Jean Cabourg Précisons d’entrée de jeu que de - tours. Le Mario nasal et étroit de française du siècle, Ninon Vallin, en vant la pléthore d’enregistrements Pauli davantage, alors qu’Angelotti est l’héroïne. À notre connaissance disponibles sur le marché ou sus - et le Sacristain paraissent dignes. Le la grande artiste n’inscrira jamais ce ceptibles de l’être demain il nous a malaise vient des effets surannés rôle à son répertoire, sans doute paru judicieux de présenter séparé - dont s’accompagne l’irruption de la parce qu’il excédait ses moyens na - ment les versions réalisées en stu - prima donna . Les voyelles plates turels de soprano lyrique, mais cha - dio et celles, innombrables et cha- sont d’époque, comme le parti pris cun sait qu’elle pouvait tout chanter que jour plus nombreuses, que pro - de réalisme, plat lui aussi, qui con- et souvent mieux que quiconque. pose le marché du live auquel le CD duit à contrefaire la jeune écervelée Entourée de Di Mazzei, habitué de offre un support idéal, à charge embarrassée de son chapeau à Cavaradossi à l’Opéra-Comique et du pour le lecteur de faire la part de ce plumes et de son bouquet, à travers grand Endrèze, belcantiste raffiné qui, dans ces dernières, relève de la force minauderies et miaulements conquis par Scarpia, elle purifie le curiosité documentaire ou de la vé - exaspérants. Une oreille avertie no - rôle de tout expressionnisme en l’ir - rité artistique d’interprétations ma - tera toutefois la liberté du re gistre radiant de son timbre haut et clair. jeures. aigu, sa lumière, sa projection, ga - Un disque atypique mais très atta - rantes d’une suite plus convain- chant. cante. Au deuxième acte, en effet, si les graves ouverts demeurent laids, I. VERSIONS STUDIO on se laisse prendre par la vitalité de 1938 : Maria Caniglia cette voix aux Ut conquérants. Dans Il faudra attendre l’immédiat Née avec le siècle, alors que le un réel climat de Grand-Guignol en - avant-guerre pour rencontrer une disque acoustique se substitue au core souligné par les voix caricatu - intégrale de grand relief, celle réali - cylindre, Tosca figurera dès 1919 rales des troisièmes couteaux, cette sée à Rome pour Beniamino Gigli. parmi les premières intégrales enre - fem me à présent bouleversée est un En dépit des artifices sonores du gistrées en Italie avec une distribu - véritable incendie. Sa prière alterne procédé Cedar utilisé par EMI pour tion complète. La créatrice de Floria, vi laines voyelles ( «La mia pre ghie ra ») le report en CD de cette série Gigli, Hariclea Darclée, frôle alors la et saine hauteur d’émission. Le vé- il est possible de faire un point ob - soixantaine et il ne semble pas que risme sans vergogne de ces scènes jectif sur cette version aussi célèbre les studios aient trouvé dans la gé - lui doit beaucoup comme au Scarpia que discutée. nération qui lui succède une canta - incisif de Granforte, le bien nommé, Si le ténor en demeure l’atout ma - trice capable d’égaler ses mérites dont Sabajno, lecteur cursif, retient jeur, il faut reconnaître à Caniglia, éminents. Remondini, Bartolomasi : surtout le profil de sbire, capable au symbole du vérisme années trente, des noms que l’Histoire n’a pas rete - demeurant de phrasés enveloppants. des qualités qui feront bien défaut à nus. La première édition notable de - Très réticent au début on finit donc nombre de celles qui lui succéde - vra attendre encore dix ans, et l’en - par entrer d ans le jeu de ce vérisme ront. Une franchise vocale d’abord, registrement électrique. C’est celle, trépidant aux allures de film expres - un aigu solide, un grave à l’avenant, toujours confiée en 1929 à l’excel - sionniste. un mordant, un italien éloquent. Le lent Sabajno, et dont la vedette est La version Molajoli de 1930 est vibrato serré indispose moins qu’en l’une des artistes chéries de Puccini, beaucoup moins excitante. Bianca d’autres circonstances, moins que la pétulante Carmen Melis. Alors Scacciati inaugure la série des vé - certaines duretés (pendant la scène que depuis les années vingt se ristes crues et vulgaires avec une de la torture par exemple) inhé - confirme l’inexorable déclin des voix qui paraît vieille même si rentes au réalisme d’une interpréta - grands sopranos dramatiques, cette vaillante. Son amant, doté d’un joli tion par ailleurs sans complexes belle artiste, bien que résolument timbre, paraît un peu coincé. Le particuliers. L’époque n’est pas à la « moderne », peut prétendre assurer Scarpia de Molinari campe solide - recherche psychologique mais cela la transition entre la vieille école, ment son personnage tandis qu’en vaut pour l’ensemble de la distribu - dont elle a recueilli les leçons auprès Angelotti Salvatore Baccaloni ne tion et pour la direction générique de Reszké et de Cotogni, son maître, peut se retenir de chanter « buffo ». de De Fabritiis, à la tête d’un or - et la nouvelle, celle de Puccini et de Le chef achève de ruiner l’entrepri- chestre moyen aux glissandi révéla - véristes comme Giordano, qu’elle se par sa direction d’un flou total. teurs eux aussi. Cette Floria mani - défendra avec zèle. feste sa jalousie comme au boule - vard et sa détresse de manière 1932 : Ninon Vallin stéréotypée. Elle possède néan- 1929 : Carmen Melis La France qui avait accueilli La moins l’exacte dimension vocale du Il faut avoir présentes à l’esprit Tosca dès 1903 (et donc du vivant de rôle, sans maquillage de prise de les données précédentes pour répri - Sardou) grâce à André Messager, et son, et s’il arrive que ses Ut sonnent mer un mouvement de recul devant vu dès lors s’y succéder les Eames, un peu bas, l’ensemble de sa presta - ce que nous livrent les premières Farrar, Garden ou Kousnetzoff, ne tion ne manque pas de chien. C’est faces de cette intégrale. Le chef n’y pourra s’offrir, hormis de pré - la sobriété qui étonne chez Gigli. est pour rien, dont la direction ner - cieuses cires d’airs séparés, que ce Son émission haute et claire ne s’en - veuse, contrastée, bien articulée, disque d’extraits de 1932 réalisé chez combre que du minimum de san - assume au mieux les aléas du 78 Odéon. La plus grande chanteuse glots, dans « Recondita armonia », 110 L’Avant-Scène Opéra déjà, mais surtout à la fin d’ « E luce - chestre de la RAI turinoise aura van le stelle ». La demi-teinte, cares - paru aussi pompier (ah, ces trom - sante, évite le falsetto comme l’excès pettes quand Angelotti surgit de - de suavité. Seul le « Vittoria ! vant Mario !). Adriana Guerrini fait Vit toria !» peut décevoir, plus large de sa Floria une harengère, la voix que percutant, mais dans l’ensemble puissante mais vieille, commune, ce Mario présente le meilleur profil inapte à la nuance ( « Non la sospiri de Gigli, ce qui n’est pas peu dire. Ar - la nostra casetta » ou « le voci delle mando Borgioli, sonore rien que so - cose » ! !). Poggi n’a à lui offrir que nore, manque d’un brin d’ima- son aigu couronnant un médium gination et ne doit sa présence qu’à pauvre et instable, prosaïque au la noirceur de son ti mbre. Vocale es - possible. Silveri déçoit par une sentiellement, cette Tosca n’épuise égale pauvreté d’imagination et de pas le sujet tout en témoignant du couleurs. meilleur d’une époque et de la pé - Dans ce contexte, on mesure rennité d’un grand ténor. En la ré - mieux les mérites d’une Tebaldi, écoutant on est sensible à tout ce quels que soient ceux, immenses, de qui lui fait défaut mais en écoutant Callas, révélés entre-temps à celles qui suivront on la regrettera Mexico ( cf . Intégrales live ) et bien - plus d’une fois. tôt consacrés au studio. Le sachant, la même firme disco - graphique ne tentera une nouvelle édition que quinze ans plus tard, 1952 : Renata Tebaldi avec Maria Callas, précédée de peu En un temps où l’on cultive le cri, par Tebaldi et deux ou trois chan - l’élève de Carmen Melis, dotée du teuses de l’arrière-garde vériste. Les plus beau timbre de soprano lirico années cinquante, cruciales entre qui soit, remet en valeur le son pur, toutes, vont offrir le meilleur et le la transparence des piani , la caresse pire. du phrasé. Avec de tels atouts elle exprime certes mieux le versant li - rico-sentimental du personnage que Renata Tebaldi (Tosca). D.R. 1951 sa furia dramatique, d’autant que À Vienne en 1951, Argeo Quadri l’aigu de sa tessiture a toujours été dilue la partition de Puccini et ses un peu tendu et bas. La direction chanteurs dans un sirop sonore d’Erede n’est pas de nature à lui émollient. Sa Floria Tosca possède inspirer davantage une interpré- la couleur et le volume idéaux en tation personnelle. Il faudra de ce née suivante un portrait devenu lé - même temps qu’une absence de point de vue attendre le live londo - gendaire. pertinence dramatique encore ag - nien de 1955 avec Molinari Pradelli gravée par cette direction atone. et celui de 1956 avec Mitropoulos. Est-ce pour compenser celle-ci Mais à l’intérieur de ces limites la le - 1953 : Maria Callas qu’elle marque si lourdement les çon de chant est souvent admirable, D’une héroïne qu’elle prétendait temps forts de ses phrases ? Le té - la femme réussit à émouvoir, la ne pas aimer, Callas aura fait un nor Scattolini pousse la note com- prière du deuxième acte demeure mythe. me le baryton Colombo que nous anthologique.
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