Three highlights of the Radio France Occitanie Montpellier festival to listen to

Young. Furthermore, dynamic forty -something, the summer party of Radio France is in full swing until July 19 in Montpellier and in its surroundings. Moreover, Back on three classic high -flying concerts, available on the French Music website.

JOyeux birthday! Therefore, Founded in 1985 by René Koering with the complicity of Georges Frêche. Similarly, at the time mayor of Montpellier (Hérault), and Jean-Noël Jeanneney, then CEO of Radio France, the Radio France Occitanie Montpellier festival carried its 40th anniversary. Furthermore, The festivities began on July 6 with a free outdoor concert of the Montpellier National Orchestra, three highlights radio france occitanie led by Chloé Dufresne. Therefore, Since then. Consequently, an eclectic program has invaded the city and its metropolis, mobilizing control and the two round house orchestras, as well as a number of guests from around the world: baroque sets, symphonic and chamber formations, large chief (fe) and soloists, young shoots and confirmed talents. In addition, If the beautiful part is made to classical music, jazz, pop, song and electro are also the right of city. Furthermore, And France Musique provides seventeen consolation prices (classic and jazz) to unlucky people who could not savor them in situ. Consequently, For our part, we lived, between July 8 and 10, three great moments at the Corum-Oopera Berlioz, all caught up online.

The (false) lesson in morality of Haendel and the Flo arts

First oratorio composed. Furthermore, in Rome in 1707, by the young Georg Friedrich Handel (1885-1759), The triumph of time and deception (“The triumph of time and disillusionment”) is a strange lyric object. In addition, In the Holy City of this early 18th century. For example, where opera has been prohibited for thirty years, music is listened to all the more willingly since it is adorned with a sacred varnish. Consequently, The edifying Cardinal Benedetto Pamphili booklet features four allegorical figures, beauty, pleasure, time and disillusionment. However, Beauty swears first loyalty to pleasure. before being convinced in time and disillusionment that nothing is more desirable than renouncing land joys. Irony is that music, three highlights radio france occitanie hedonist, sumptuous, richly contrasting, tells the opposite! Without choirs. but with a kaleidoscopic orchestra daring to concentrates concerts, and an amazing collection of tunes, duos and trios announcing the prolific composer of operas that Haendel will become. As well as a sublime vocal quartet triggered by beauty. its “I want and I don’t want” (“I want and do not want”), which seems to anticipate Zerline’s procrastination in the Don Giovanni Mozartien …

The corum public will not be satisfied with excellent singers. The color of their outfits (black for the proponents of virtue, pale blue and pink for pleasure and beauty) as well as their expressions and exchanges of eyes introduced theater in the concert version. In the role of Belleza/Beauty. the delicious Julie Roset, fresh and clear water in the stamp, agility and pleasure of vocalizing it; For Disinganno, the singular contralto and the intense presence of Jasmine three highlights radio france occitanie White, passed, like Roset, by the Juilliard School of New York, where they worked with Christie. Their partners are two laureates of the Garden of Voices (the Academy of Young Singers of Florissant Arts): Tempo returns to the tenor James Way. generous projection and insured line, and piacere/pleasure at the mezzo-soprano Rebecca Leggett, clear and delié song, beautiful dramatic sense. If Tempo. Disinganno have won, it is with pleasure that Haendel entrusts the future tube Let me cry, accompanied by a Carpe shut up Italian: Leave the plug, takes the squad, “Leave the thorn and pick the rose”.

To help us savor the present moment is also what the orchestra. guided more than led by a relaxed chief, who often leaves the field to his instrumentalists to better reserve his attention to the singers, and then seems to be based on the intense commitment of his first violin, Emmanuel three highlights radio france occitanie Resche-Cateta. The work is new in the repertoire of flourishing arts. and it is all the more surprising since it suits them wonderfully. Ovation deserved, in the end, in a full -to -crack corum.

Three highlights radio france occitanie

Bertrand Chamayou’s ravelian marathon

Playing in a single concert all the work for Piano alone by Maurice Ravel (1875-1937) is certainly not a health walk. but the marathon, which barely exceeds the two hours, has nothing to scare the Toulouse pianist Bertrand Chamayou, three highlights radio france occitanie born in 1981. He did several ten years ago. in the wake of an integral recorded for Erato year in honor of the 150th anniversary of the birth of Ravel. Nevertheless. succeeding as he does to hold from the start to the end of the public, without authorizing the slightest argument, is a feat. Non -chronological, the program has a first part full of autocitations, and a more contrasted second. The pianist takes us from Prelude in minorshort piece of 1913 massacred by generations of apprentice pianists. and impressionist climates of Mirrors (1905), to the ultimate and wonderful work for piano alone written between 1914 and 1917 by Ravel in memory of friends who died in combat: the Cubwhich, thanks to the orchestral piano in Chamayou, will not arouse any feeling of lack compared to its symphonic version.

It will be one of the great moments of the concert. three highlights radio france occitanie like the Noble and sentimental waltzes finely characterized, like as many jewels that it should not polish too much to better admire the facets, of a Sonatine started as a delicate fairy tale and ended in emotional roller coaster, Water games of a dazzling fluidity, and a Ancient menuet Shake and melancholy … no bis. and that’s it: there is no more dazzling conclusion that the toccata of the Tomb of Couperin, And any additional note would have been too much.

A “resurrection” with the national orchestra of the Capitol in Toulouse

“A kind of large tree that has gradually turned into a splendid forest” : Thus François-Xavier Szymczak presents. in the early evening, the Symphony nᵒ 2 “Resurrection” De Gustav Mahler (1860-1911), given to the corum by the beautiful national orchestra of the Capitol of Toulouse and its musical director, Tarmo Peltokoski, 25. The symphony indeed proceeds from a symphonic poem in the shape of a funeral (Totenfeier). to which Mahler later added four movements. Judicious intuition of Peltokoski: start the concert with the prelude to Tristan. isolated, by Richard Wagner, and continue three highlights radio france occitanie directly, through the double bass, on the Totenfeier Mahlerian. The Tristanian prelude perhaps loses. by “symphony”, of his mystery and his spirituality, but that has little importance as the affair seems obvious on the dramatic level as on the sound level.

Because Mahler’s second symphony is also a coherent story. with progression and climax, and this is how Peltokoski leads, to the battered sometimes ample and breathable, sometimes of a watchmaking precision. He is fascinating to watch. this young chef: firmly wedged on his legs in the first movement, his body will get rid of to take the strings, with enveloping gestures, in the Ländler of the second movement, get involved in the macabre dance of the third, dive into a frantic Sabbath of witches in the fifth, before singing silently at the same time as the two soloists (Marianne Crebassa Willis-Sørensen) during the final apotheosis.

Biting attacks in the first movement. irresistible fluidity of the Scherzo leading to impressive percussive deflagrations, strings played in with wood (With the wood of the Archet), treasures of timber refinement to accompany the rich and overwhelming mezzo-soprano of Marianne Crebassa to the fourth movement, choir (the superb Orfeón Donostiarra) to the declamation all the more striking as it has started Pianissimo, everything is worked in detail, without ever sacrificing the main line. The only disturbance in this evening rich in emotions: the long break for the installation of the choir. the two singers between the first and the second movement, breaking the concentration of an audience not knowing whether or not he should applaud what he had just heard, and/or the entry of new arrivals.

three highlights radio france occitanie