{"id":1057667,"date":"2024-03-29T08:00:16","date_gmt":"2024-03-29T13:00:16","guid":{"rendered":"https:\/\/myscena.org\/?p=1057667"},"modified":"2024-03-29T12:19:10","modified_gmt":"2024-03-29T17:19:10","slug":"critique-cd-opus-961-dreyer-gaido-2024","status":"publish","type":"post","link":"https:\/\/aap5.myscena.org\/fr\/zenith-wolfe\/critique-cd-opus-961-dreyer-gaido-2024\/","title":{"rendered":"Critique CD | Opus 961 (Dreyer Gaido, 2024)"},"content":{"rendered":"<blockquote><p><b><i>Opus 961<br \/>\n<\/i><\/b>No\u00e9mie Chemali, alto<br \/>\nDreyer Gaido, 2024<\/p><\/blockquote>\n<p><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-1057582 alignleft\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/Opus-961-Dreyer-Gaido-.jpg\" alt=\"\" width=\"220\" height=\"220\" srcset=\"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2024\/03\/Opus-961-Dreyer-Gaido-.jpg 500w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2024\/03\/Opus-961-Dreyer-Gaido--300x300.jpg 300w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2024\/03\/Opus-961-Dreyer-Gaido--100x100.jpg 100w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2024\/03\/Opus-961-Dreyer-Gaido--150x150.jpg 150w\" sizes=\"(max-width: 220px) 100vw, 220px\" \/>Le 4 ao\u00fbt 2020, une explosion au port de Beyrouth emportait la moiti\u00e9 de la ville, d\u00e9truisant trois h\u00f4pitaux et les maisons de 300\u00a0000 personnes. No\u00e9mie Chemali, dont la maison de la grand-m\u00e8re a \u00e9t\u00e9 ras\u00e9e, d\u00e9die son premier album, <i>Opus 961<\/i>, \u00e0 la r\u00e9silience des habitants de Beyrouth.<\/p>\n<p>Les \u0153uvres pr\u00e9sent\u00e9es sont toutes compos\u00e9es par de jeunes musiciens libanais. Dans <i>Cadenza from \u201cThe Brown Texts\u201d<\/i> (2018) de Layale Chaker, la musicienne explore les possibilit\u00e9s expressives de l\u2019alto en tant qu\u2019instrument percussif et g\u00e9n\u00e9rateur de tension. De longs moments de silence sont rompus par des coups d\u2019archet qui s\u2019intensifient progressivement. La m\u00e9lodie fragment\u00e9e se veut une r\u00e9flexion sur les difficult\u00e9s \u00e0 maintenir la culture libanaise \u00e0 travers 75 ans de guerres et de d\u00e9sastres.<\/p>\n<p>L\u2019interpr\u00e9tation de <i>The Revolt of the Stars<\/i> (2018) est brillante. Un bourdonnement bas et constant ainsi qu\u2019un air de bo\u00eete \u00e0 musique dramatique plantent le d\u00e9cor d\u2019un voyage que Chemali semble h\u00e9siter \u00e0 entreprendre, jusqu\u2019\u00e0 ce qu\u2019une s\u00e9rie de voix effroyables commence \u00e0 guider l\u2019alto. Les tambours l\u2019entra\u00eenent dans un environnement onirique avec une contrebasse imposante. Lorsque la composition s\u2019ach\u00e8ve, il ne reste plus que les tambours et la bo\u00eete \u00e0 musique. L\u2019\u0153uvre de Mary Kouyoumdjian met l\u00e9gitimement en doute l\u2019efficacit\u00e9 des groupes r\u00e9volutionnaires lorsqu\u2019ils n\u2019ont pas l\u2019esprit de r\u00e9sistance \u00e0 l\u2019injustice.<\/p>\n<p>Ces pi\u00e8ces s\u2019accordent bien avec <i>Kadishat<\/i> (2014), hymne du trisagion en arabe compos\u00e9 par Chemali elle-m\u00eame. L\u2019\u0153uvre introduit des m\u00e9lodies distinctives \u00e0 l\u2019int\u00e9rieur de moments de percussion. Elle se termine de mani\u00e8re optimiste, comme pour dire que la force des habitants de Beyrouth et de la culture libanaise suffit \u00e0 surmonter tous les obstacles.<\/p>\n<h4>Playlist<\/h4>\n<p><iframe loading=\"lazy\"  id=\"_ytid_60215\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/Jbi-4_Q6nHQ?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_60936\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/nH1rgP5wLlA?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Le 4 ao\u00fbt 2020, une explosion au port de Beyrouth emportait la moiti\u00e9 de la ville, d\u00e9truisant trois h\u00f4pitaux et les maisons de 300\u00a0000 personnes.<\/p>\n","protected":false},"author":25515,"featured_media":1057636,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[17269,17038],"tags":[58188,54846,58189,55751,58190],"class_list":{"0":"post-1057667","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-cordes","8":"category-critiques-de-disques-et-livres","9":"tag-album-review-fr","10":"tag-cd-fr","11":"tag-lebanon-fr","12":"tag-musique-contemporaine-fr-2","13":"tag-viola-fr","14":"volume-volume-29","15":"issue-vol-29-issue-6-fr","16":"section-critiques"},"featured_image_src":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2024\/03\/Opus-961.webp","blog_images":{"medium":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2024\/03\/Opus-961-300x144.webp","large":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2024\/03\/Opus-961.webp"},"acf":[],"aioseo_notices":[],"ams_acf":[{"key":"le_volume","label":"Le volume","value":[]},{"key":"numero","label":"Num\u00e9ro","value":[]},{"key":"source_url","label":"Source URL","value":""},{"key":"author_name","label":"Author","value":""},{"key":"editchoice","label":"Edit Choice","value":[]},{"key":"is_cover_story","label":"Is Cover Story","value":[]},{"key":"performer_1","label":"Performer 1","value":""},{"key":"performer_2","label":"Performer 2","value":""},{"key":"other_info","label":"Other info","value":""},{"key":"ink_amazon","label":"Ink Amazon","value":""},{"key":"archambault","label":"archambault link","value":""},{"key":"price","label":"Price","value":""}],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1057667"}],"collection":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/users\/25515"}],"replies":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1057667"}],"version-history":[{"count":0,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1057667\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/media\/1057636"}],"wp:attachment":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1057667"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1057667"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1057667"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}