Sacre<\/em> sont tr\u00e8s particuliers, et il accentue syst\u00e9matiquement le finale de chaque mouvement. Est-ce l\u2019acoustique de la salle ou l\u2019emplacement de mon si\u00e8ge ? Les cordes, notamment, sortaient de l\u2019ensemble beaucoup plus que les bois.<\/p>\nEntre les deux suites, H\u00e2kan Hardenberger \u00e9tait invit\u00e9 pour le\u00a0Concerto pour trompette<\/em>\u00a0d\u2019Henri Tomasi. Gabel avait d\u00e9j\u00e0 dirig\u00e9 cette oeuvre avec l’Orchestre nationale de France. Premier mouvement pris lentement mais beau travail, surtout pour le superbe 2e mouvement et son duo trompette et harpe, tr\u00e8s bien balanc\u00e9. Il faut le faire !<\/p>\nLe Sacre du printemps<\/em> a d\u00e9cid\u00e9ment une perfection formelle qui emp\u00eache la modestie d\u2019une simple \u00e9tude de rythmes. Stravinsky racontait quelque part qu\u2019il a compos\u00e9 l\u2019\u0153uvre avec en t\u00eate les images des violentes d\u00e9b\u00e2cles de glace dans l\u2019hiver russe. Facile de transposer ces images au Qu\u00e9bec, mais d\u00e8s janvier, c\u2019est un concert perce-neige\u2026<\/p>\n","protected":false},"excerpt":{"rendered":"22 janvier 2020, Grand Th\u00e9\u00e2tre de Qu\u00e9bec Pour la premi\u00e8re fois \u00e9taient r\u00e9unis l\u2019Orchestre symphonique de Qu\u00e9bec et les Violons du Roy. On entend souvent Le Sacre jou\u00e9 par une quarantaine de musicien-ne-s; il y en avait plus du double hier soir au Grand Th\u00e9\u00e2tre. \u00ab La totale \u00bb, comme les a pr\u00e9sent\u00e9s la PDG<\/p>\n
Continuer<\/a><\/div>\n","protected":false},"author":9710,"featured_media":404806,"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],"tags":[43356,40049,24043],"class_list":{"0":"post-404766","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-spectacles","8":"tag-hakan-hardenberger","9":"tag-orchestre-symphonique-de-quebec-fr","10":"tag-violons-du-roy-fr-49","11":"type-critique","12":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2020\/01\/DSC04929-2-1024x681.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2020\/01\/DSC04929-2-300x200.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2020\/01\/DSC04929-2-1024x681.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":[{"adjusted_star_result":0,"star_result":0,"total_max_option_value":5,"adjusted_score_result":0,"score_result":0,"percentage_result":0,"adjusted_percentage_result":0,"count":0,"post_id":404766}]},"_links":{"self":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/404766"}],"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\/9710"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=404766"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/404766\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/404806"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=404766"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=404766"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=404766"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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<\/a>Sous Fabien Gabel, certains accents du Sacre<\/em> sont tr\u00e8s particuliers, et il accentue syst\u00e9matiquement le finale de chaque mouvement. Est-ce l\u2019acoustique de la salle ou l\u2019emplacement de mon si\u00e8ge ? Les cordes, notamment, sortaient de l\u2019ensemble beaucoup plus que les bois.<\/p>\n