{"id":1057650,"date":"2024-03-29T08:00:52","date_gmt":"2024-03-29T13:00:52","guid":{"rendered":"https:\/\/myscena.org\/?p=1057650"},"modified":"2024-03-29T09:49:56","modified_gmt":"2024-03-29T14:49:56","slug":"critique-cd-la-flambeau-atma-classique-2024","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/gianmarco-segato\/critique-cd-la-flambeau-atma-classique-2024\/","title":{"rendered":"Critique CD | La Flambeau (Atma Classique, 2024)"},"content":{"rendered":"<blockquote><p><b><i>La Flambeau<br \/>\n<\/i><\/b>Suzanne Taffot, soprano, Catherine Daniel, mezzo-soprano, Paul Williamson, t\u00e9nor, Brandon Coleman, baryton-basse; Orchestre classique de Montr\u00e9al; David Bontemps, compositeur<br \/>\nAtma Classique, 12 avril 2024<\/p><\/blockquote>\n<p><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-1057610 alignleft\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/La-Flambeau-Suzanne-Taffo.jpg\" alt=\"\" width=\"220\" height=\"220\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/La-Flambeau-Suzanne-Taffo.jpg 550w, https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/La-Flambeau-Suzanne-Taffo-300x300.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/La-Flambeau-Suzanne-Taffo-100x100.jpg 100w, https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/La-Flambeau-Suzanne-Taffo-150x150.jpg 150w\" sizes=\"(max-width: 220px) 100vw, 220px\" \/><\/p>\n<p>L\u2019op\u00e9ra de chambre <i>La Flambeau<\/i>, paru chez ATMA, a \u00e9t\u00e9 enregistr\u00e9 le lendemain de sa premi\u00e8re montr\u00e9alaise (8 f\u00e9vrier 2023). David Bontemps, qui est n\u00e9 en Ha\u00efti et s\u2019est \u00e9tabli \u00e0 Montr\u00e9al, a compos\u00e9 cette \u0153uvre d\u2019apr\u00e8s la pi\u00e8ce prim\u00e9e de son compatriote Flaubert Bolivar. Son sujet est tir\u00e9 d\u2019une riche mythologie fond\u00e9e sur des traditions vaudoues ha\u00eftiennes. Au centre de l\u2019op\u00e9ra se trouvent un couple dysfonctionnel (Monsieur et Madame), leur servante Mademoiselle et \u2013 comme un clin d\u2019\u0153il au <i>Don Giovanni<\/i> de Mozart \u2013 un homme vengeur, semblable \u00e0 la statue du Commandeur, qui transforme l\u2019hypocrite Monsieur en zombie \u00e0 la fin de l\u2019op\u00e9ra.<\/p>\n<p>L\u2019univers sonore de Bontemps est r\u00e9solument tonal. Il s\u2019appuie sur un accompagnement r\u00e9gulier de cordes en ostinato, compl\u00e9t\u00e9 de mani\u00e8re int\u00e9ressante par des maracas percutantes. L\u2019\u00e9criture vocale est principalement un r\u00e9citatif accompagn\u00e9, avec quelques excursions dans des m\u00e9lodies soutenues. On remarque une certaine tendance \u00e0 l\u2019uniformit\u00e9 lorsqu\u2019il s\u2019agit d\u2019adapter les lignes vocales au drame. Par exemple, lorsque Mademoiselle arrive en retard \u00e0 son premier jour de travail, l\u2019agacement de Monsieur est signal\u00e9 par la m\u00eame pulsation r\u00e9guli\u00e8re que celle utilis\u00e9e dans la sc\u00e8ne d\u2019ouverture avec sa femme. M\u00eame dans ce cas, Madame ne montre que peu d\u2019agitation lorsqu\u2019elle raconte ses visions de parents morts et de son parrain vaudou.<\/p>\n<p>Le cadre musical est limit\u00e9, mais on y trouve quelques prestations distinctives. La mezzo-soprano canadienne Catherine Daniel donne aux divagations hant\u00e9es de Madame les couleurs vocales et les tons n\u00e9cessaires. La soprano Suzanne Taffot offre une diction claire et un ton pointu. Dans le r\u00f4le de Monsieur, le t\u00e9nor canadien Paul Williamson n\u2019est pas aid\u00e9 par les lignes courtes et saccad\u00e9es qui ne parviennent pas \u00e0 capturer sa v\u00e9ritable nature diabolique, y compris son viol de Mademoiselle. Le baryton-basse am\u00e9ricain Brandon Coleman poss\u00e8de le ton sombre et inqui\u00e9tant parfait pour entonner les proclamations de l\u2019Homme, mais il n\u2019a pas le fran\u00e7ais idiomatique de ses coll\u00e8gues.<\/p>\n<p>L\u2019Orchestre classique de Montr\u00e9al joue bien sous la direction d\u2019Alain Trudel dans l\u2019acoustique claire et bien \u00e9quilibr\u00e9e de la salle Pierre-Mercure de Montr\u00e9al.<\/p>\n<h4>Playlist<\/h4>\n<p><iframe loading=\"lazy\"  id=\"_ytid_90069\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/lrFBboGFBFY?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_10977\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/FAUB6pDHhzw?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>David Bontemps, qui est n\u00e9 en Ha\u00efti et s\u2019est \u00e9tabli \u00e0 Montr\u00e9al, a compos\u00e9 La Flambeau d\u2019apr\u00e8s la pi\u00e8ce prim\u00e9e de son compatriote Flaubert Bolivar.<\/p>\n","protected":false},"author":21249,"featured_media":1057632,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[17038,399],"tags":[54846,58184,24177,21823],"class_list":{"0":"post-1057650","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-disques-et-livres","8":"category-opera-fr","9":"tag-cd-fr","10":"tag-critique-cd","11":"tag-opera-fr-77","12":"tag-vocal-fr-3","13":"volume-volume-29","14":"issue-vol-29-issue-6-fr","15":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/La-Flambeau.webp","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/La-Flambeau-300x144.webp","large":"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/La-Flambeau.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:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1057650"}],"collection":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/users\/21249"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1057650"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1057650\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1057632"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1057650"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1057650"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1057650"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}