{"id":352419,"date":"2017-12-04T12:45:03","date_gmt":"2017-12-04T16:45:03","guid":{"rendered":"http:\/\/myscena.org\/charles-geyer\/review-exterminating-angel\/"},"modified":"2017-12-04T12:55:21","modified_gmt":"2017-12-04T16:55:21","slug":"review-exterminating-angel","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/charles-geyer\/review-exterminating-angel\/","title":{"rendered":"Critique : The Exterminating Angel"},"content":{"rendered":"<p>Devinez qui vient souper\u2026 et y restera \u00e0 tout jamais? Dans le nouvel op\u00e9ra du compositeur Thomas Ad\u00e8s <em>The Exterminating Angel<\/em>, la r\u00e9ponse est\u00a0: tout le monde. Cr\u00e9\u00e9e l\u2019ann\u00e9e derni\u00e8re \u00e0 Salzbourg, l\u2019\u0153uvre est pr\u00e9sent\u00e9e au Met en premi\u00e8re am\u00e9ricaine.<\/p>\n<p>Inspir\u00e9 du film <em>El \u00e1ngel exterminador<\/em>, r\u00e9alis\u00e9 en 1962 par l\u2019iconoclaste Luis Bu\u00f1uel, l\u2019op\u00e9ra de M.\u00a0Ad\u00e8s observe impitoyablement le sort d\u00e9sesp\u00e9r\u00e9 (et la sant\u00e9 mentale chancelante) de bourgeois espagnols qui, apr\u00e8s une soir\u00e9e \u00e0 l\u2019op\u00e9ra, se r\u00e9unissent \u00e0 l\u2019occasion d\u2019un souper mondain qu\u2019ils ne peuvent, pour des raisons d\u00e9passant tout entendement, se r\u00e9soudre \u00e0 quitter. Pensons \u00e0 un croisement entre Noel Coward et Rod Sterling agr\u00e9ment\u00e9 d\u2019un peu du <em>Capriccio<\/em> de Richard Strauss.<\/p>\n<p>Depuis qu\u2019Aristote a exprim\u00e9 l\u2019id\u00e9al de l\u2019unit\u00e9 d\u2019action, les dramaturges se sont mis en qu\u00eate de situations justifiant cet isolement dramatique impos\u00e9 \u2014 pensons au tour de passe-passe existentialiste de Sartre dans son Huis Clos, \u00e0 l\u2019ing\u00e9niosit\u00e9 psycho-juridique des Dix petits n\u00e8gres d\u2019Agatha Christie ou aux innombrables histoires de p\u00e9nitencier ou d\u2019asile. Pourtant, il est impossible d\u2019oser la comparaison avec l\u2019audacieuse solution de Bu\u00f1uel\u00a0: apparemment incapables de se r\u00e9signer \u00e0 quitter la pi\u00e8ce o\u00f9 ils ont \u00e9t\u00e9 convi\u00e9s, une bande d\u2019intellectuels raffin\u00e9s sombrent dans la sauvagerie.<\/p>\n<p>Le livret de M.\u00a0Ad\u00e8s et du metteur en sc\u00e8ne Tom Cairns s\u2019attache \u00e9troitement au r\u00e9cit de Bu\u00f1uel et retrace peut-\u00eatre mieux la situation qui \u00e9volue d\u2019une com\u00e9die de m\u0153urs \u00e0 un G\u00f6tterd\u00e4mmerung, alors que la musique percutante et tumultueuse du compositeur (que souligne l\u2019utilisation virtuose du myst\u00e9rieux instrument \u00e9lectronique que sont les ondes Martenot) nous entra\u00eene dans les vertiges de la m\u00e9taphysique et de l\u2019horreur visc\u00e9rale.<\/p>\n<p>Les personnages principaux forcent admirablement la note \u2013 repoussant parfois les limites \u2013 dans l\u2019ex\u00e9cution de leurs lignes vocales diaboliquement mouvantes et atteignant des hauteurs in\u00e9gal\u00e9es. Les sopranos Audrey Luna et Alice Coote, la mezzo-soprano Christine Rice, le contre-t\u00e9nor Iestyn Davies et le t\u00e9nor qu\u00e9b\u00e9cois Fr\u00e9d\u00e9ric Antoun se distinguent au sein d\u2019une distribution \u00e9tincelante.<\/p>\n<p>Traduit par V\u00e9ronique Frenette.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Devinez qui vient souper\u2026 et y restera \u00e0 tout jamais? Dans le nouvel op\u00e9ra du compositeur Thomas Ad\u00e8s The Exterminating Angel, la r\u00e9ponse est\u00a0: tout le monde. Cr\u00e9\u00e9e l\u2019ann\u00e9e derni\u00e8re \u00e0 Salzbourg, l\u2019\u0153uvre est pr\u00e9sent\u00e9e au Met en premi\u00e8re am\u00e9ricaine. Inspir\u00e9 du film El \u00e1ngel exterminador, r\u00e9alis\u00e9 en 1962 par l\u2019iconoclaste Luis Bu\u00f1uel, l\u2019op\u00e9ra de<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/charles-geyer\/review-exterminating-angel\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2830,"featured_media":352418,"comment_status":"open","ping_status":"open","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":[17036,394,17251,399],"tags":[34581],"class_list":{"0":"post-352419","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-spectacles","8":"category-musique-classique","9":"category-musique-vocale","10":"category-opera-fr","11":"tag-the-exterminating-angel-fr","12":"type-critique","13":"volume-volume-23","14":"issue-vol-23-issue-4-fr","15":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2017\/12\/03af9a0d2b3d5fdd55dbf2c1ee44a09d79daa6c30646b5fef93885a76b166a11-CMYK2.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2017\/12\/03af9a0d2b3d5fdd55dbf2c1ee44a09d79daa6c30646b5fef93885a76b166a11-CMYK2.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2017\/12\/03af9a0d2b3d5fdd55dbf2c1ee44a09d79daa6c30646b5fef93885a76b166a11-CMYK2.jpg"},"acf":[],"aioseo_notices":[],"ams_acf":[{"key":"volume","label":"Volume","value":[]},{"key":"number","label":"Number","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":""},{"key":"source_url","label":"Source URL","value":""},{"key":"author_name","label":"Author","value":""},{"key":"editchoice","label":"Editor\u2019s Choice","value":[]},{"key":"is_cover_story","label":"Is Cover Story","value":[]}],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/352419"}],"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\/2830"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=352419"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/352419\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/352418"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=352419"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=352419"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=352419"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}