{"id":1072611,"date":"2024-11-14T15:31:39","date_gmt":"2024-11-14T20:31:39","guid":{"rendered":"https:\/\/myscena.org\/?p=1072611"},"modified":"2024-11-15T12:36:04","modified_gmt":"2024-11-15T17:36:04","slug":"critique-de-disque-massenet-herodiade","status":"publish","type":"post","link":"https:\/\/aap5.myscena.org\/fr\/pascal-blanchet\/critique-de-disque-massenet-herodiade\/","title":{"rendered":"Critique de disque | Etienne Dupuis dans la <em>H\u00e9rodiade<\/em> de Massenet"},"content":{"rendered":"<blockquote>\r\n<p><b><i>Massenet : H\u00e9rodiade<\/i><\/b><\/p>\r\n<p><span style=\"font-weight: 400;\">Nicole Car (Salom\u00e9), Etienne Dupuis (H\u00e9rode), Sua Jo, Cl\u00e9mentine Margaine (H\u00e9rodiade), Marko Mimica (Phanuel), Matthew Polenzani (Jean); Orchestre et ch\u0153ur du Deutsche Oper de Berlin, Enrique Mazzola, chef<\/span><\/p>\r\n<p><span style=\"font-weight: 400;\">Naxos, 2024<\/span><\/p>\r\n<\/blockquote>\r\n\r\n<p class=\"has-drop-cap has-medium-font-size\"><span style=\"font-weight: 400;\">En 1881, plus de vingt ans avant Richard Strauss, Jules Massenet \u00e9crit un op\u00e9ra qui met en vedette l\u2019h\u00e9ro\u00efne biblique Salom\u00e9, mais l\u2019\u0153uvre porte plut\u00f4t le nom de sa m\u00e8re, H\u00e9rodiade\u2026 \u00c0 l\u2019\u00e9poque, Massenet est encore consid\u00e9r\u00e9 comme un jeune compositeur, ayant obtenu un bon succ\u00e8s avec <\/span><i><span style=\"font-weight: 400;\">Le roi de Lahore<\/span><\/i><span style=\"font-weight: 400;\"> (1877), mais la cons\u00e9cration viendra v\u00e9ritablement plus tard avec <\/span><i><span style=\"font-weight: 400;\">Manon<\/span><\/i><span style=\"font-weight: 400;\"> (1884).\u00a0<\/span><\/p>\r\n\r\n<p><span style=\"font-weight: 400;\">Les commentateurs critiquent le livret d\u2019H\u00e9rodiade, trop disparate et touffu, m\u00e9langeant plusieurs enjeux\u00a0: un triangle amoureux, un drame familial, une intrigue politique et religieuse. Mais ce foisonnement n\u2019a rien pour rebuter un spectateur du XXI<\/span><span style=\"font-weight: 400;\">e<\/span><span style=\"font-weight: 400;\"> si\u00e8cle habitu\u00e9 \u00e0 suivre des histoires bien plus compliqu\u00e9es sur Netflix\u00a0! L\u2019\u0153uvre a pour nous quelque chose de tr\u00e8s cin\u00e9matographique, elle fait penser immanquablement aux grands p\u00e9plums hollywoodiens des ann\u00e9es 1950, comme <\/span><i><span style=\"font-weight: 400;\">Les dix commandements<\/span><\/i><span style=\"font-weight: 400;\">.\u00a0<\/span><\/p>\r\n<p><span style=\"font-weight: 400;\">La partition, tr\u00e8s g\u00e9n\u00e9reuse, demeure captivante de bout en bout, gr\u00e2ce \u00e0 une musique imaginative et bigarr\u00e9e, d\u00e9bordante de grands ensembles enlevants men\u00e9s par des ch\u0153urs magnifiques, dans des climats tr\u00e8s vari\u00e9s qui vont d\u2019une \u00ab\u00a0danse babylonienne\u00a0\u00bb \u00e0 une \u00ab\u00a0marche sainte\u00a0\u00bb, en plus de solos aux m\u00e9lodies capiteuses. Certains sont rest\u00e9s assez connus, comme <\/span><i><span style=\"font-weight: 400;\">Il est doux, il est bon<\/span><\/i><span style=\"font-weight: 400;\"> que chantent encore parfois les sopranos ou <\/span><i><span style=\"font-weight: 400;\">Vision fugitive<\/span><\/i><span style=\"font-weight: 400;\"> aux lignes flatteuses pour les barytons.\u00a0<\/span><\/p>\r\n<p><span style=\"font-weight: 400;\">L\u2019orchestre, comme toujours chez Massenet, brille de mille feux et de mille couleurs, ce qui fait que l\u2019oreille est constamment charm\u00e9e, entre autres par des solos de saxophone tr\u00e8s sensuels. Cet enregistrement en direct r\u00e9alis\u00e9 au Deutsche Opera Berlin en 2023 fait \u00e9cho \u00e0 une version concert donn\u00e9e \u00e0 Paris l\u2019ann\u00e9e pr\u00e9c\u00e9dente. Il b\u00e9n\u00e9ficie de la tr\u00e8s forte pr\u00e9sence d\u2019Etienne Dupuis, \u00e0 la voix puissante et surtout \u00e0 la diction d\u2019une clart\u00e9 \u00e9blouissante, qui donne le juste poids \u00e0 chaque syllabe.\u00a0<\/span><\/p>\r\n<p><span style=\"font-weight: 400;\">Sa femme dans l\u2019op\u00e9ra, la mezzo fran\u00e7aise Cl\u00e9mentine Margaine, \u00e9gare parfois quelques consonnes dans le moelleux de son timbre, tandis que sa femme dans la vie, l\u2019Australienne Nicole Car, chante un fran\u00e7ais tellement pur qu\u2019on la croirait n\u00e9e en \u00cele-de-France plut\u00f4t que dans la banlieue de Melbourne. Emport\u00e9 par ses coll\u00e8gues, le t\u00e9nor Am\u00e9ricain Matthew Polenzani dans le r\u00f4le du proph\u00e8te Jean nous gratifie aussi d\u2019une diction tr\u00e8s claire. Tous quatre interpr\u00e8tent leurs r\u00f4les avec une grande conviction. Une \u0153uvre \u00e0 d\u00e9couvrir, un compositeur \u00e0 r\u00e9\u00e9valuer, des interpr\u00e8tes \u00e0 ch\u00e9rir\u00a0!\u00a0<\/span><\/p>\r\n<p><iframe loading=\"lazy\" title=\"H\u00e9rodiade (1884 Version) , Act I Scene 1: Celui dont la parole efface toutes peines - Il est...\" width=\"702\" height=\"527\" src=\"https:\/\/www.youtube.com\/embed\/wB5X2uZwhnU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>","protected":false},"excerpt":{"rendered":"<p>Massenet : H\u00e9rodiade Nicole Car (Salom\u00e9), Etienne Dupuis (H\u00e9rode), Sua Jo, Cl\u00e9mentine Margaine (H\u00e9rodiade), Marko Mimica (Phanuel), Matthew Polenzani (Jean); Orchestre et ch\u0153ur du Deutsche Oper de Berlin, Enrique Mazzola, chef Naxos, 2024 En 1881, plus de vingt ans avant Richard Strauss, Jules Massenet \u00e9crit un op\u00e9ra qui met en vedette l\u2019h\u00e9ro\u00efne biblique Salom\u00e9, mais<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/aap5.myscena.org\/fr\/pascal-blanchet\/critique-de-disque-massenet-herodiade\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":39320,"featured_media":1072604,"comment_status":"closed","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":[17038],"tags":[59712,59714,40650,58710,47940,40651,59713],"class_list":{"0":"post-1072611","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-disques-et-livres","8":"tag-clementine-margaine-fr","9":"tag-enrique-mazzola-fr","10":"tag-etienne-dupuis-fr-2","11":"tag-jules-massenet-fr","12":"tag-matthew-polenzani-fr-2","13":"tag-nicole-car-fr-2","14":"tag-orchestre-et-choeur-du-deutsche-oper-de-berlin","15":"volume-volume-30","16":"issue-vol-30-issue-34-fr","17":"section-critiques"},"featured_image_src":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2024\/11\/gandr-collage-14.jpg","blog_images":{"medium":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2024\/11\/gandr-collage-14-300x144.jpg","large":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2024\/11\/gandr-collage-14.jpg"},"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\/1072611"}],"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\/39320"}],"replies":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1072611"}],"version-history":[{"count":0,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1072611\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/media\/1072604"}],"wp:attachment":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1072611"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1072611"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1072611"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}