{"id":5582,"date":"2011-05-04T13:00:00","date_gmt":"2011-05-04T18:00:00","guid":{"rendered":"http:\/\/172.16.1.151\/demo\/2011\/05\/04\/matsuev-en-recital-demain-soir\/"},"modified":"2016-07-23T23:50:47","modified_gmt":"2016-07-24T04:50:47","slug":"matsuev-en-recital-demain-soir","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/la-scena-musicale-team\/matsuev-en-recital-demain-soir\/","title":{"rendered":"Matsuev en r\u00e9cital demain soir"},"content":{"rendered":"<div style=\"font-family: Georgia,&quot;Times New Roman&quot;,serif;\"><\/div>\n<div style=\"font-family: Georgia,&quot;Times New Roman&quot;,serif;\"><span style=\"font-size: small;\">Par Lucie Renaud<\/span><span style=\"font-size: small;\">&nbsp;<\/span><\/div>\n<div style=\"font-family: Georgia,&quot;Times New Roman&quot;,serif;\"><\/div>\n<div style=\"font-family: Georgia,&quot;Times New Roman&quot;,serif;\"><\/div>\n<div style=\"clear: both; text-align: center;\"><a href=\"http:\/\/4.bp.blogspot.com\/-SZ2qH8h3DCE\/TcBBb9R_RoI\/AAAAAAAAACw\/WLh5x3Re7u8\/s1600\/DenisMatsuev6_Main.jpg\" style=\"clear: left; float: left; margin-bottom: 1em; margin-right: 1em;\"><img decoding=\"async\" border=\"0\" src=\"https:\/\/4.bp.blogspot.com\/-SZ2qH8h3DCE\/TcBBb9R_RoI\/AAAAAAAAACw\/WLh5x3Re7u8\/s1600\/DenisMatsuev6_Main.jpg\" \/><\/a><\/div>\n<div style=\"font-family: Georgia,&quot;Times New Roman&quot;,serif;\"><span style=\"font-size: small;\">&nbsp;Soliste invit\u00e9 de l\u2019Orchestre du  Mariinsky sous Gergiev l\u2019ann\u00e9e derni\u00e8re, il avait renvers\u00e9 public  et critique dans son <i>Troisi\u00e8me<\/i> de Rachmaninov. Sous ses doigts,  le redoutable concerto semblait d\u2019une facilit\u00e9 d\u00e9sarmante, le pianiste  transcendant litt\u00e9ralement les difficult\u00e9s pour extraire de cette  \u0153uvre pyrotechnique une trame lyrique et m\u00eame po\u00e9tique, ses pianissimos  plongeant l\u2019auditeur dans un ravissement total. En rappel, Denis Matsuev   avait opt\u00e9 pour la paraphrase virtuose du <i>Barbier de S\u00e9ville<\/i>  de Ginzburg (qu\u2019on retrouve d\u2019ailleurs sur son album <i>Tribute  to Horowitz<\/i>), flamboyante, \u00e0 la fronti\u00e8re (jamais franchie pourtant)   du cabotinage, qu\u2019il avait m\u00e2tin\u00e9 de quelques clins d\u2019\u0153il personnels  non d\u00e9nu\u00e9s d\u2019un certain humour.<\/span><span style=\"font-size: small;\">&nbsp;<\/span><\/div>\n<div style=\"font-family: Georgia,&quot;Times New Roman&quot;,serif;\"><\/div>\n<div style=\"font-family: Georgia,&quot;Times New Roman&quot;,serif;\"><span style=\"font-size: small;\">Nous le d\u00e9couvrirons cette fois autre,  dans un r\u00e9cital \u00ab \u00e0 l\u2019ancienne \u00bb qui comprend deux pierres angulaires  du r\u00e9pertoire, l\u2019\u00ab Appassionata \u00bb de Beethoven (enregistr\u00e9e \u00e0  ses d\u00e9buts) et la<i> Deuxi\u00e8me Sonate<\/i> de Rachmaninov. Souhaitons  qu\u2019il sache d\u00e9montrer sa subtilit\u00e9 dans la Sonate opus 142 de Schubert  en d\u00e9but de programme. Il en jettera assur\u00e9ment plein la vue avec  sa <i>M\u00e9phisto-Valse <\/i>(Matsuev reste l\u2019un des rares pianistes  d\u2019aujourd\u2019hui capable d\u2019occulter la dimension tapageuse de ces  pages) et r\u00e9servera sans doute un petit bonbon ou deux aux amateurs  en bis. Une grande soir\u00e9e de piano en perspective!<\/span> <span style=\"font-size: small;\"><br \/><\/span><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Par Lucie Renaud&nbsp; &nbsp;Soliste invit\u00e9 de l\u2019Orchestre du Mariinsky sous Gergiev l\u2019ann\u00e9e derni\u00e8re, il avait renvers\u00e9 public et critique dans son Troisi\u00e8me de Rachmaninov. Sous ses doigts, le redoutable concerto semblait d\u2019une facilit\u00e9 d\u00e9sarmante, le pianiste transcendant litt\u00e9ralement les difficult\u00e9s pour extraire de cette \u0153uvre pyrotechnique une trame lyrique et m\u00eame po\u00e9tique, ses pianissimos plongeant<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/la-scena-musicale-team\/matsuev-en-recital-demain-soir\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2814,"featured_media":0,"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":[17036,17267],"tags":[],"class_list":{"0":"post-5582","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-critiques-de-spectacles","7":"category-piano-fr","8":"type-critique"},"featured_image_src":"","blog_images":{"medium":"","large":""},"acf":[],"aioseo_notices":[],"ams_acf":[],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/5582"}],"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\/2814"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=5582"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/5582\/revisions"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=5582"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=5582"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=5582"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}