{"id":1086816,"date":"2025-06-04T15:27:40","date_gmt":"2025-06-04T19:27:40","guid":{"rendered":"https:\/\/myscena.org\/?p=1086816"},"modified":"2025-06-04T15:27:40","modified_gmt":"2025-06-04T19:27:40","slug":"critique-de-disque-oiseaux-de-passage-natalie-dessay-et-philippe-cassard","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/pascal-blanchet\/critique-de-disque-oiseaux-de-passage-natalie-dessay-et-philippe-cassard\/","title":{"rendered":"Critique de disque | <em>Oiseaux de passage<\/em>, Natalie Dessay et Philippe Cassard"},"content":{"rendered":"<blockquote><p><strong><em>Oiseaux de passage<\/em><\/strong><\/p>\n<p>Natalie Dessay, soprano; Philippe Cassard, piano; Andr\u00e9 Previn, Stephen Sondheim, Gian Carlo Menotti, Samuel Barber, Ernest Chausson, Reynaldo Hahn, Maurice Ravel, Louis Beydts, Francis Poulenc, compositeurs<\/p>\n<p>La Dolce Volta, 2025<\/p><\/blockquote>\n<p>Il y a vingt ans cette ann\u00e9e, <a href=\"https:\/\/www.nataliedessay.fr\/\" target=\"_blank\" rel=\"noopener\">Natalie Dessay<\/a> donnait \u00e0 Montr\u00e9al un grand r\u00e9cital avec orchestre, invit\u00e9e par l\u2019Op\u00e9ra de Montr\u00e9al dans le cadre de son concert-b\u00e9n\u00e9fice annuel. La chanteuse, qui reprenait \u00e0 peine ses activit\u00e9s apr\u00e8s deux \u00e9pisodes de probl\u00e8mes vocaux, \u00e9tait attendue avec f\u00e9brilit\u00e9.<\/p>\n<p>On la connaissait par le disque, gr\u00e2ce \u00e0 plusieurs enregistrements tr\u00e8s convaincants, mais aussi par le DVD, notamment dans une version d\u00e9capante d\u2019<em>Orph\u00e9e aux enfers<\/em> d\u2019Offenbach, premi\u00e8re mise en sc\u00e8ne d\u2019op\u00e9ra pour Laurent Pelly, o\u00f9 Dessay interpr\u00e9tait une Eurydice pleine de mordant aux suraigus stup\u00e9fiants\u00a0!<\/p>\n<p>Sa prestation montr\u00e9alaise du 10 mai 2005 est rest\u00e9e dans la m\u00e9moire des m\u00e9lomanes d\u2019ici, qui ont pu bient\u00f4t, gr\u00e2ce \u00e0 l\u2019apparition de YouTube, admirer toutes ses prises de r\u00f4les pass\u00e9es et pr\u00e9sentes, Reine de la Nuit, Olympia des <em>Contes d\u2019Hoffmann<\/em>, Lakm\u00e9, puis une inoubliable Marie de <em>La fille du r\u00e9giment<\/em>, jusqu\u2019aux plus difficiles Violetta de <em>La traviata<\/em>.<\/p>\n<p>En 2013, la soprano annonce son d\u00e9sir de se retirer du monde de l\u2019op\u00e9ra pour explorer de nouveaux paysages musicaux\u2026 Et nous voici donc en 2025, alors que l\u2019artiste c\u00e9l\u00e8bre son soixanti\u00e8me anniversaire de naissance, de nouveau surpris et captiv\u00e9s par ce r\u00e9cital qui m\u00eale l\u2019inventivit\u00e9 et la nostalgie.<\/p>\n<p>Dans un programme plein d\u2019inattendu et \u00ab\u00a0d\u2019in-entendu\u00a0\u00bb, Natalie Dessay donne \u00e0 entendre un registre aigu facile et un timbre toujours imm\u00e9diatement reconnaissable, encore plein de fra\u00eecheur malgr\u00e9 quelques f\u00ealures ici et l\u00e0, et parfois des respirations plus fragiles (surtout pour qui se souvient du souffle in\u00e9puisable de ses grandes ann\u00e9es).<\/p>\n<p>Ce court programme d\u00e9bute avec des extraits d\u2019op\u00e9ras moins fr\u00e9quent\u00e9s, o\u00f9 elle r\u00e8gne encore en grande \u00ab\u00a0diseuse\u00a0\u00bb, donnant \u00e0 chaque mot, chaque syllabe, son juste poids et le maximum de sens. Puis vient une suite de m\u00e9lodies consacr\u00e9es \u00e0 la gent ail\u00e9e, dont <em>Le colibri<\/em> et <em>Le rossignol<\/em>, pi\u00e8ces souvent choisies par des \u00e9tudiants en chant, que Dessay interpr\u00e8te avec une jeunesse \u00e9ternelle.<\/p>\n<p>Elle encha\u00eene avec <em>Les oiseaux du paradis<\/em> de Ravel, d\u2019une simplicit\u00e9 proche de la chanson folklorique, et conclut avec <em>La dame de Monte-Carlo<\/em>, une m\u00e9lodie de 7 minutes qui constitue une sorte d\u2019op\u00e9ra en miniature, au cours de laquelle Natalie Dessay montre toutes ses qualit\u00e9s actuelles, dramatiques et vocales.<\/p>\n<p>Le titre du r\u00e9cital fait sans doute r\u00e9f\u00e9rence \u00e0 la voix de soprano colorature si souvent compar\u00e9e \u00e0 celle d\u2019un oiseau, mais peut-\u00eatre aussi \u00e0 nous m\u00e9lomanes, qui revoyons toutes ces ann\u00e9es de musique d\u00e9filer devant nous, nous rappelant que nous sommes tous de passage\u2026<\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_42676\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/Ec1jjUMWJt8?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>Oiseaux de passage Natalie Dessay, soprano; Philippe Cassard, piano; Andr\u00e9 Previn, Stephen Sondheim, Gian Carlo Menotti, Samuel Barber, Ernest Chausson, Reynaldo Hahn, Maurice Ravel, Louis Beydts, Francis Poulenc, compositeurs La Dolce Volta, 2025 Il y a vingt ans cette ann\u00e9e, Natalie Dessay donnait \u00e0 Montr\u00e9al un grand r\u00e9cital avec orchestre, invit\u00e9e par l\u2019Op\u00e9ra de Montr\u00e9al<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/pascal-blanchet\/critique-de-disque-oiseaux-de-passage-natalie-dessay-et-philippe-cassard\/\" title=\"Read More\">Read More<\/a><\/div>\n","protected":false},"author":39320,"featured_media":1086809,"comment_status":"closed","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":[17038,17251,17267],"tags":[39310,41817,59033,62751,62750,62752,48576,56924,62749,23886,30881,59654,36892,56572,56574],"class_list":{"0":"post-1086816","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-disques-et-livres","8":"category-musique-vocale","9":"category-piano-fr","10":"tag-andre-previn-fr","11":"tag-andre-previn-fr-2","12":"tag-ernest-chausson-fr","13":"tag-francis-poulenc-fr","14":"tag-gian-carlo-menotti-fr","15":"tag-louis-beydts-fr","16":"tag-maurice-ravel-fr","17":"tag-maurice-ravel-fr-2","18":"tag-natalie-dessay-fr","19":"tag-opera-de-montreal-fr-15","20":"tag-philippe-cassard","21":"tag-reynaldo-hahn-fr","22":"tag-samuel-barber-fr-2","23":"tag-stephen-sondheim-fr","24":"tag-stephen-sondheim-fr-2","25":"volume-volume-30","26":"issue-vol-30-issue-7-fr","27":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/06\/Oiseaux-de-Passage-feature.png","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/06\/Oiseaux-de-Passage-feature-300x144.png","large":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/06\/Oiseaux-de-Passage-feature.png"},"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\/1086816"}],"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\/39320"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1086816"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1086816\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1086809"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1086816"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1086816"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1086816"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}