Un Contre-Ténor Très Doué Dans La Génération Montante Des Contre-Ténors, L’Italien Carlo Vistoli Est Incontestablement L’Un Des Plus Talentueux

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Un Contre-Ténor Très Doué Dans La Génération Montante Des Contre-Ténors, L’Italien Carlo Vistoli Est Incontestablement L’Un Des Plus Talentueux GUIDE 76 CD 86 DVD 88 Livres 90 Agenda Le Timbre d’argent Le Postillon de Anton Dvorak, Igor Le calendrier des comble une lacune dans Lonjumeau réussit son Stravinsky et Philippe principaux festivals la discographie de entrée au catalogue Manoury en vedette. et scènes lyriques Saint-Saëns. vidéo. jusqu’au 30 novembre. Coup de cœur Un contre-ténor très doué Dans la génération montante des contre-ténors, l’Italien Carlo Vistoli est incontestablement l’un des plus talentueux. Le Covid-19 a privé les mélomanes du concert vénitienne de 1643). CARLO VISTOLI que Carlo Vistoli devait donner, le 20 mai dernier, Cavalli et Monteverdi se taillent la part du lion Amor tiranno au Théâtre Grévin. Dommage, car s’il en est un dans ce programme, avec aussi, pour ce dernier, à suivre parmi les contre-ténors qui commencent deux extraits du Quarto Scherzo delle ariose Cavalli - Merula - Ferrari - Laurenzi - Sacrati - Ceresini - Monteverdi - Frescobaldi à occuper le devant de la scène, c’est bien lui. vaghezze. Ce qui n’empêche de remarquer le Déjà remarqué par un précédent récital, Arias court « Se ad un altro » de Diomede, extrait de Lucia Cortese (soprano) for Nicolino, chez le même éditeur, et par di- Sezione Aurea, dir. Filippo Pantieri La fi nta pazza de Francesco Sacrati, ainsi qu’une verses intégrales, dont Agrippina de Haendel, aria de Girolamo Frescobaldi offerte en bonus, 1 CD Arcana A 474 chez Erato, il s’attache aujourd’hui aux amours puisque sans rapport avec Venise. contrariées, fréquentes dans l’opéra vénitien du Ces textes, mis en musique avec élégance et XVIIe siècle, lequel, à cette époque, est loin d’être simplicité, exigent de l’interprète qu’il se rappelle un long fl euve tranquille (l’enregistrement a été les exigences du recitar cantando des origines, réalisé en studio, en décembre 2018). tout en magnifi ant des mélodies qui s’épanouis- Les passions sont exacerbées, la violence a droit sent au gré des humeurs des personnages. Carlo de cité, la cruauté et le cynisme pointent leur Vistoli possède au plus haut degré cette aisance nez, autant d’états perturbateurs et de désirs du bien-dire et cette musicalité, qui font vibrer inassouvis pouvant conduire à la désillusion, à ces pages inspirées. l’indifférence, au désespoir, voire à la mort. Sa voix est relativement large, pleine, sans pas- Apollo se désole ainsi à la vue de Dafne méta- sage de registre hasardeux dans les notes les morphosée en laurier et déploie sa douleur dans plus graves, son timbre chaleureusement coloré des courbes mélodiques caressantes (Gli amori et immédiatement attachant. Son élocution est di Apollo e Dafne), Francesco Cavalli lui destinant un modèle ; il réussit à éviter toute monotonie des mélodies simples et fi nement dessinées. dans l’expression, et à conserver de la liberté Le même Cavalli montre son art du récitatif dans dans la conduite des lignes musicales. Erismena (juste avant son aria « Uscitemi dal cor, Carlo Vistoli a, lui-même, participé à la révision lacrime amare », Idraspe, drapé dans sa dignité, et à la transcription de certaines pages, avec termine son récit par un poignant « con la Filippo Pantieri, dont l’ensemble Sezione Aurea memoria mia perdi l’imago »), et suit les hésita- est prodigue de sonorités séduisantes. Pour le tions et l’évolution des sentiments d’Iarba, bles- duo de L’incoronazione di Poppea, il est rejoint sé dans son orgueil de constater que Didone lui par Lucia Cortese, soprano dont les couleurs préfère Enea (La Didone). vocales acidulées conviennent à la future impé- L’Ottone de Monteverdi affronte la cynique ratrice, plus ambitieuse et garce que sincère. Poppea dans un duo tendu à l’extrême Aucun doute : Carlo Vistoli rejoindra sans tarder (L’incoronazione di Poppea, version napolitaine l’équipe des Jaroussky, Fagioli et consorts, dont de 1651), et sombre dans le désespoir après le public est actuellement si friand. avoir pensé tuer celle qui le dédaigne (version MICHEL PAROUTY magazine • 75 75-ouverture guide vistoli MP.indd 79 19/08/2020 10:12 GUIDE CD Première OPÉRAS & Saint-Saëns et le fantastique ORATORIOS Mieux que la nouvelle production de l’Opéra-Comique, en juin 2017, l’enregistrement de studio du Palazzetto Bru Zane, réalisé dans la foulée des représentations, permet de juger Le Timbre d’argent, « drame lyrique » totalement oublié de Saint-Saëns, qui constitue un précieux ajout à la discographie du compositeur de Samson et Dalila. représentations de la nouvelle au II), ou le dramatique « Dans le production de l’Opéra-Comique silence et l’ombre » de Conrad (voir O. M. n° 131 p. 63 de (acte I). On aime également la septembre). À coup sûr, il gomme finesse de l’orchestration et la FIBICH une partie des défauts que la structure en scènes (et non en La Fiancée de Messine scène soulignait, à savoir le numéros), hardie pour l’époque. manque d’unité musicale (que Le chant d’Hélène Guilmette et Lucia Cervoni (Donna Isabella) - l’auteur confessait et s’était, selon celui de Jodie Devos sont toujours Thomas Florio (Don Manuel) - Richard Samek (Don César) - Noa ses dires, efforcé de corriger) et la musicalité même ; celui Danon (Beatrice) - Johannes une intrigue relativement sim- d’Edgaras Montvidas ne masque Stermann (Diego) - Martin-Jan pliste, due au célèbre duo Barbier pas ses tensions, mais le person- Nijhof (Kajetan) - Manfred Wulfert et Carré, lourdement mani- nage est désarmant de sincérité. (Bohemund) chéenne dans sa vision de la lutte Le style et la présence de Tassis Opernchor des Theaters Magdeburg, Magdeburgische du Bien et du Mal, et offrant à ce Christoyannis font mouche à tout Philharmonie, dir. Kimbo Ishii conte fantastique la plus banale coup ; et la voix lumineuse de Yu 2 CD CPO 777 981-2 des explications : tout cela n’était Shao en fait un ténor à suivre de qu’un rêve. près. Ceci posé, et en s’attachant à la Le chœur Accentus est irrépro- &&&& SAINT-SAËNS musique, on ne peut que consta- chable, et François-Xavier Roth, Dans l’histoire de l’opéra en Bohême, Le Timbre d’argent ter l’habileté mélodique du com- dirigeant Les Siècles, met en va- au XIXe siècle, on cite toujours Zdenek Tassis Christoyannis (Spiridion) - positeur, non seulement dans le leur une partition qui, malgré les Fibich (1850-1900) après Smetana Edgaras Montvidas (Conrad) - Yu ravissant « Le bonheur est chose multiples aléas auxquelles elle a et Dvorak, ou pire, tout simplement Shao (Bénédict) - Hélène Guilmette légère » d’Hélène, à l’acte II, mais dû faire face, conserve son dyna- on l’oublie. Peut-être parce ce cadet (Hélène) - Jodie Devos (Rosa) aussi dans les interventions de misme. de neuf ans de Dvorak a été si forte- Accentus, Les Siècles, Bénédict (« Demande à l’oiseau Une première discographique ment influencé par l’Allemagne de dir. François-Xavier Roth qui s’éveille » ; « L’humble papillon utile. Non, Saint-Saëns n’a pas Weber, Schumann, et surtout Wagner, 2 CD Palazzetto Bru Zane BZ 1041 de nuit », en duo avec Rosa), les écrit que Samson et Dalila et qu’il passait à Prague, de son vivant, envolées de Spiridion (notam- Le Carnaval des animaux ! pour anormalement cosmopolite. &&&&& ment la « Chanson napolitaine », MICHEL PAROUTY À l’époque, tout compositeur d’opéra préoccupé de déclamation et de Voici déjà le 25e volume de la continuité dramatique était imman- collection « Opéra français » du Le Timbre d’argent à l’Opéra-Comique. quablement taxé de wagnérisme. Palazzetto Bru Zane, essentielle- Mais, en écoutant La Fiancée de ment consacrée à la recherche Messine (Prague, 28 mars 1884), PIERRE GROSBOIS d’ouvrages rares. d’après la tragédie de Schiller, l’in- Après Les Barbares et Proserpine, fluence paraît effectivement beau- parus respectivement en 2014 et coup plus forte. En dépit d’inflexions 2017, l’héritage lyrique de Camille tchèques très présentes, le composi- Saint-Saëns est loin d’être épuisé. teur de Tannhäuser, voire Tristan und La preuve ? Voici Le Timbre Isolde, ressort en filigrane à chaque d’argent, « drame lyrique » en ligne. quatre actes, donné ici dans sa Moins qu’une technique de leitmotive version revue et corrigée pour la plutôt sommaire, sont frappants une Monnaie de Bruxelles, en mars orchestration aux couleurs sombres, 1914, soit trente-sept ans après un traitement des chœurs en masses la création parisienne. opposées, paraissant nettement ins- L’enregistrement a été réalisé en piré de scènes analogues de studio, les 26 et 27 juin 2017, Lohengrin, et surtout, une attention quelques jours après la fin des toute particulière portée aux récits : 76 • magazine 76-87_CD_DVD_164.indd 76 19/08/2020 10:12 GUIDE CD aucun air conventionnel, mais une succession d’ariosi, parfois très longs. En dépit de ses ambitions grandioses, l’ouvrage paraît ainsi, de prime abord, saison 20/21 dépourvu d’événements spectacu- laires, à l’exception de quelques en- sembles choraux, voire d’une grande marche funèbre symphonique (!), au milieu du III. Dans la Messine médiévale, pèse sur la famille royale une malédiction ana- 21 SEPTEMBRE 2020 logue à celle qui menace l’Œdipe de Silla reste un mystère dans la pro- Nicolas Courjal Sophocle. En dépit des précautions duction opératique de Haendel, Antoine Palloc prises, celles-ci fi nissent immanqua- puisqu’on n’a toujours aucune blement par se retourner contre ceux certitude quant à sa création, qui 12 OCTOBRE 2020 qui les ont imaginées, jusqu’à la aurait eu lieu en 1713, non pas Clémentine Margaine concrétisation intégrale de l’oracle. dans un théâtre, mais en privé. Le Sarah Margaine Le drame de Schiller explore de nom- livret, spectaculaire, fait apparaître 3 NOVEMBRE 2020 breuses passions familiales obscures, une dédicace au duc d’Aumont, Sandrine Piau refoulements, attachements inces- ambassadeur de France à Londres.
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