{"id":1087171,"date":"2025-06-07T10:52:48","date_gmt":"2025-06-07T14:52:48","guid":{"rendered":"https:\/\/myscena.org\/?p=1087171"},"modified":"2025-06-20T21:50:20","modified_gmt":"2025-06-21T01:50:20","slug":"lhebdo-lebrecht-debussy-messiaen-extase-pentatone","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/norman-lebrecht\/lhebdo-lebrecht-debussy-messiaen-extase-pentatone\/","title":{"rendered":"L\u2019Hebdo Lebrecht | Debussy, Messiaen\u00a0: <em>Extase<\/em> (Pentatone)"},"content":{"rendered":"<p class=\"has-drop-cap has-medium-font-size\">Il y a une ligne d\u2019\u00e9l\u00e9gance qui traverse la musique vocale fran\u00e7aise, de Debussy \u00e0 Messiaen en passant par Boulez, et qui exclut tout le reste. \u00c0 l\u2019\u00e9coute, on dirait qu\u2019il n\u2019y a pas d\u2019autre chanson fran\u00e7aise \u2013 pas de Ravel, pas de Poulenc, pas de Brel \u2013 rien que cet espace \u00e9th\u00e9r\u00e9 dans lequel chaque consonne est distribu\u00e9e avec une pr\u00e9cision esth\u00e9tique, comme des framboises dans une p\u00e2tisserie, ou des boules de glace sur la place du march\u00e9. Chanter dans ce genre peut sembler pr\u00e9somptueux. Ce n\u2019est pas le cas dans cet album.<\/p>\n<p><a href=\"https:\/\/www.kozena.cz\/en\">Magdalena Ko\u017een\u00e1<\/a> parle le tch\u00e8que comme langue maternelle et l\u2019anglais et l\u2019allemand \u00e0 la maison. Si son fran\u00e7ais de r\u00e9cital est impeccable, elle apporte aux <em>Chansons de Bilitis<\/em> de Debussy une touche inattendue de Jan\u00e1\u010dek \u2013 cette inimitable zone obscure entre le chant et la parole qui transforme une chanson en un dialogue qu\u2019on pourrait entendre dans un train de banlieue. Elle est particuli\u00e8rement efficace dans deux s\u00e9ries de po\u00e8mes de Baudelaire et Verlaine, bavards, intimes et plus qu\u2019un peu douteux.<\/p>\n<p>Les <em>Po\u00e8mes pour Mi<\/em> de Messiaen sont chastes, pleins de saintet\u00e9 et plut\u00f4t gris en termes de couleurs tonales. Ils ont \u00e9t\u00e9 \u00e9crits pour sa premi\u00e8re femme au milieu des ann\u00e9es 1930, \u00e0 l\u2019\u00e9poque de leur mariage. Ko\u017een\u00e1 sonne comme une vierge, lib\u00e9r\u00e9e de toute pens\u00e9e impure. Le jeu de <a href=\"https:\/\/mitsukouchida.com\/\">Mitsuko Uchida<\/a>, orn\u00e9 comme une robe de mari\u00e9e, promet la f\u00e9licit\u00e9 au bout de l\u2019\u00e9crin de verdure. L\u2019intuition mutuelle est immacul\u00e9e. \u00c0 aucun moment on ne peut dire qui, de la pianiste ou de la chanteuse, anticipe l\u2019autre. C\u2019est la communion parfaite.<\/p>\n<blockquote>\n<h4>Couverture des concours<\/h4>\n<ul>\n<li><a href=\"https:\/\/myscena.org\/fr\/la-scena-musicale-team\/pleins-feux-cmim-voix-2025\/\" target=\"_blank\" rel=\"noopener\"><strong>CMIM Voix 2025<\/strong> du 25 mai au 6 juin<\/a><\/li>\n<li><a href=\"https:\/\/myscena.org\/newswire\/spotlight-cliburn-2025\/\">Cliburn 2025<\/a> : articles, reportages et vid\u00e9os<\/li>\n<\/ul>\n<\/blockquote>\n<hr \/>\n<p>Traduction : A. Venne<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Il y a une ligne d\u2019\u00e9l\u00e9gance qui traverse la musique vocale fran\u00e7aise, de Debussy \u00e0 Messiaen en passant par Boulez, et qui exclut tout le reste. \u00c0 l\u2019\u00e9coute, on dirait qu\u2019il n\u2019y a pas d\u2019autre chanson fran\u00e7aise \u2013 pas de Ravel, pas de Poulenc, pas de Brel \u2013 rien que cet espace \u00e9th\u00e9r\u00e9 dans lequel<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/norman-lebrecht\/lhebdo-lebrecht-debussy-messiaen-extase-pentatone\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2760,"featured_media":1087176,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[34360],"tags":[56925,62797,5699],"class_list":{"0":"post-1087171","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-lhebdo-lebrecht","8":"tag-magdalena-kozena-fr","9":"tag-mitsuko-uchida-fr","10":"tag-pentatone","11":"type-critique","12":"type-critique-de-disque"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/06\/MitsukUchida_Debussy_feature.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/06\/MitsukUchida_Debussy_feature-300x144.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/06\/MitsukUchida_Debussy_feature.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:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1087171"}],"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\/2760"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1087171"}],"version-history":[{"count":1,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1087171\/revisions"}],"predecessor-version":[{"id":1087752,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1087171\/revisions\/1087752"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1087176"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1087171"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1087171"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1087171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}