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Orchestre National D'île-De-France • Enrique

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Orchestre National D'île-De-France • Enrique ORCHESTRE NATIONAL D'îLE-DE-FRANCE • ENRIQUE MAZZOLA 1 GAETANO DONIZETTI (1797-1848) VINCENZO FIORAVANTI (1799-1877) LA FILLE DU REGIMENT (1839) GLI ZINGARI (1844) Libretto : Jules-Henri Vernoy de Saint-Georges & Jean-François Bayard Libretto : Marco d’Arienzo 1. Act I : « Il faut partir » 06 :06 7. Act I : Io son la zingara 05 :49 GIOVANNI PACINI (1796- 1867) HECTOR BERLIOZ (1803 -1869) LA REGINA DI CIPRO (1846) ZAÏDE (1845) Libretto : Francesco Guidi Sur un texte de Edouard Roger de Bully, dit Roger de Beauvoir 2. Act II : O tenera madre dal cielo rimira 08 :01 8. Mélodie pour soprano et orchestre 03 :53 GIOVANNI PACINI (1796- 1867) FRANCISCO ASENJO BARBIERI (1823-1894) LA REGINA DI CIPRO (1846) MIS DOS MUJERES (1855) Libretto : Francesco Guidi Libretto : Luis Olona 3. Act II : Allor ch’è a mezzo la notte bruna 05 :07 Solo cello : Natacha Colmez-Collard 9. Act II : ¿Por qué se oprime el alma? 06 :43 PIETRO RAIMONDI (1786-1853) L’ORFANA RUSSA (1835) GIOACHINO ROSSINI (1792-1868) Libretto : Andrea Passaro LE COMTE ORY (1828) 4. Act I : Amor cagion possente 02 :54 Libretto : Eugène Scribe & Charles-Gaspard Delestre—Poirson 10. Act I : En proie à la tristesse 05 :17 GIOACHINO ROSSINI (1792-1868) LA CENERENTOLA (1817) GIOACHINO ROSSINI (1792-1868) Libretto : Jacopo Ferretti LE COMTE ORY (1828) 5. Act II : Sventurata mi credea 04 :45 Libretto : Eugène Scribe & Charles-Gaspard Delestre—Poirson 11. Act I : Céleste providence 04 :47 GIOACHINO ROSSINI (1792-1868) LE SIEGE DE CORINTHE (1826) GIACOMO MEYERBEER (1791-1864) Libretto : Luigi Balocchi & L’ETOILE DU NORD (1854) Alexandre Soumet Libretto :Eugène Scribe 6. Act III : Juste Ciel 03 :33 12. Act III : L’aurore enfin succède 04 :58 2 3 pas, cette huile qui dégrippe les rouages et lui permet d’imprégner de théâtre sa vocalité. JULIE FUCHS et les pupilles du bel canto Ecoutez "En proie à la tristesse", tiré du Comte Ory (1828), présent sur le disque, et vous assisterez à une irrésistible mise en scène de ses vocalises. On sourit de la facétie de l’entreprise, autant qu’on s’enthousiasme de son sérieux. "Je pense que c’est aussi pour mon caractère, disons... espiègle, qu’on me confie ces rôles-là. Ce qui est important dans Novembre 2017, dans un café parisien. Julie Fuchs esquisse les grandes lignes du concept le destin de ces héroïnes n’est pas tant qu’elles soient orphelines mais battantes. Elles de son deuxième album chez Deutsche Grammophon : quelque chose sur les filles, les foncent, cœur accroché, il y a un sourire qui traîne", explique-t-elle ce coup-ci sans rire. orphelines. "Car je me rends compte que c’est le point commun de la plupart des rôles que je chante et pour lesquels j'éprouve de l'affection. Ces personnages ont eu un parcours Décembre 2018, à Arcueil. Le jour de la séance photo du livret, entre deux changements compliqué de femmes malheureuses, mais ne sont pas du tout découragées, au contraire ! de tenues et trois poses entourée de statues. Il s’en est produit, des événements, en un an. Ce sont des battantes", explique-t-elle. Le cadre était précis mais le contenu, encore flou, La Fuchs est devenue mère. Chante-t-elle différemment ? Naturellement. "Intérieurement, je ne demandait qu’à être irrigué pour prendre forme. ressens les choses autrement, les sensations ne sont pas les mêmes". Elle a repris le chemin des scènes. Et a enregistré son disque en été, dans le nouveau studio de l’Orchestre national Dans la coulisse travaille déjà une équipe chargée de donner corps au projet, en recherchant d’Île-de-France, à Alfortville, sous la direction d’Enrique Mazzola. C’est l’étrangeté d’un CD : notamment des partitions oubliées dans le registre bel canto. Une mission d’une netteté "le projet nous est très personnel, on le porte des mois, voire des années, mais la période implacable : orpheline + rareté + 1815-1850 en étaient les vecteurs. "J'ai préféré me recentrer sur d'enregistrement passe en un clin d’oeil". Mademoiselle consacre l’aboutissement d’une ce répertoire car j'ai le sentiment qu'il me fait évoluer". La période est cruciale. A l’époque, période générale, et non d’un moment précis, comme peut l’être une production d’opéra. Julie Fuchs triomphe dans Le Comte Ory à l’Opéra-Comique. Elle se fond à merveille dans les codes de ce genre où la voix, traitée comme un instrument, doit se plier aux écarts les « MADEMOISELLE » sur les plages plus extrêmes et aux virtuosités les plus incongrues. "En plus, il paraît que j’y ai une petite aisance", sourit-elle, œil de velours, moue piquée. Qui sont-ils, alors, ces compositeurs repêchés des oubliettes de l’histoire et dont la Fuchs incarnera les Mesdemoiselles dans ce disque ? Sans surprise, Rossini est de la partie, avec Parenthèse sur cette attitude qu’il nous est impossible de bien décrire : c’est aussi pour Le Comte Ory (1828), mais aussi deux œuvres que la soprano n’a jamais interprétées ça qu’on raffole de La Fuchs. Certes pour son timbre d’une clarté indéniable. Evidemment scéniquement, Le Siège de Corinthe (1826) et La Cenerentola (1817), pour l'air "Sventurata pour sa technique implacable et d’une apparente facilité qu’elle a travaillé d’Avignon à mi credea", peu donné. Au nombre des figures tutélaires, le disque convoque Donizetti Paris. Bien sûr il y a ses pianissimi délicats, qui contrastent avec son engagement vocal et sa Fille du régiment (1839). Présentée en ouverture du disque, on pourra réentendre massif. Et il faut l’avoir aussi entendu chanter du Gérard Grisey pour savoir que son talent "Il faut partir" et son “Adieu” final s’effondrant au ralenti sur un filet de cor anglais. ne se limite pas à une monomanie de colorations. Mais à côté de toutes ces qualités, il y a l’humour… pourquoi cacher plus longtemps cette facette qu’elle ne dissimule d’ailleurs 4 5 La récipiendaire de la Victoire de l'artiste lyrique voulait intégrer au programme Meyer- Le dernier temps fort du disque, "O tenera madre dal cielo rimira", est tiré de La Regina beer, pendant français de Rossini, compositeur au croisement des mondes lyriques ayant di Cipro (1846), de Giovanni Pacini. Le frère rival de Rossini, compositeur d’ouvrages à forgé son propre genre après avoir parcouru longuement l’arc germano-italo-français. succès au temps de leur création, n’a pas bénéficié comme lui de l’engouement survenu Autant dire une gageure pour coller au thème de l’album. Ce sera avec L’Etoile du nord un siècle plus tard pour le bel canto. Ses œuvres sédimentent au fond de l’histoire lyrique (1854), opéra de sa période française rarement joué. La Marie militaire de La Fille du du XIXe siècle et ne demandent qu’à refaire surface. Tel cette grande scène profilée pour régiment se transforme ici en Catherine s’incrustant dans une armée pour y faire exploser emporter les bravissimi des salles les plus exigeantes : après un solo plutôt dramatique son tempérament : "L’aurore enfin succède à la nuit", à l’ouverture chambriste, aboutit sur le mode lyrique s’engage un andante coloré et tendu pour vingt-huit pupitres qui à un air de la folie. culmine sur un contre mi bémol piqué psar la cantatrice. La Zaïde (1845) de Berlioz passe faire son tour de boléro. L’orpheline insaisissable qui C’est là l’essence du bel canto : le dard qui vient percer coeur et tympan de l’auditeur pour famille choisit Grenade “au frais jardin”, œuvre mineure et colorée du plus ronchon après avoir bourdonné et voltigé autour d’une cadence entraînante. Ces Mesdemoiselles des compositeurs français dont on commémore cette année les 150 ans de la disparition, ont tout des belles et des abeilles. annonce "Porque se oprime el alma", tiré de Mis Dos Mujeres (1855) de Francisco Asenjo Barbieri. Le spécialiste de zarzuela, tragi-comédie espagnole, reprenait là le sujet d’un Guillaume Tion opéra-comique français, Mina ou le Ménage à trois (écrit par Eugène de Planard), pour concurrencer l’omniprésence de l’opéra italien, avec une orchestration bouillonnante et une virtuosité tranquille. Les inédits arrivent : Mademoiselle présente trois œuvres jamais encore portées au disque. Orphelines, elles aussi. "Amor cagion possente", de Pietro Raimondi, fait valoir un chant sautillant, faussement enjoué. Le compositeur romain est à cette époque tendu vers ses recherches contrapuntiques de plus en plus complexes, et s’apprête à basculer dans la musique sacrée… toutes influences qu’on ne retrouve pas dans cet opéra, L’Orfana Russa (1835). La gitane du prolifique Vincenzo Fioravanti fait écho à celle de Berlioz. Primesautière, entourée de six serpents et bondissante au milieu de clochettes jouées par un glockenspiel à clavier dans cet opéra buffa napolitain (Gli Zingari, 1844), la zingara détaille ici sa profession de foi -la séduction-, et préfigure sur le mode léger l’Oiseau rebelle de notre Carmen. D’autant plus léger que Leonilla, l’héroïne bohémienne libre et frivole, se révélera être la fille du gouverneur. "Ratatata tatata". 6 7 JULIE FUCHS and the orphaned women of bel canto The scene is a Parisian cafe in November 2017. Julie Fuchs is giving a broad outline of the concept behind her second album for Deutsche Grammophon. Something about young women, orphans. "Because it occurred to me that this was a common factor with most of the roles that I sing, the ones that I feel a fondness for". These characters have the complicated lives of women who are unhappy, but not discouraged, is the way she explains it".
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