Ce fut un véritable choc. Un moment musical, spirituel, humain, d’une rare force. Pour la première fois de sa vie de chef d’orchestre, Leonardo García-Alarcón dirigeait l’œuvre qui lui est la plus proche, la plus intime.
Marc Dumont, Première Loge
The St Matthew Passion was likely written for Good Friday in 1727. It recounts the story of Christ’s last days, according to the First Gospel. Bach skillfully reworked this liturgical music into a veritable sacred opera, using his theatrical savviness to move his audience. The breathtaking beauty of his arias, his dramatic intelligence and aptitude at mixing styles and genres make this work an edifying and spiritually elevating experience. Featuring the theatrical flair of Leonardo García-Alarcón, the vibrant colours of Cappella Mediterranea, the passion of the Namur Chamber Choir and a first-rate cast, this concert promises exceptional moments of grace and inspiration.
Valerio Contaldo, tenor (The Evangelist)
Alex Rosen, bass (Jésus)
Sophie Junker, soprano
Hugh Cutting, alto
Laurence Kilsby, tenor
Andreas Wolf, bass
Leonardo García-Alarcón, conducting
Thibaut Lenaerts, choirmaster of the Chœur de Chambre de Namur
Richard Wilberforce, choirmaster
Rémi Aguirre Zubiri, choirmaster
Edwin Baudo, choirmaster
Evann Loget-Raymond, choirmaster
Cappella Mediterranea
Chœur de Chambre de Namur
Choeur d’enfants de l’Orchestre de Paris
“Watching a performance of the most celebrated passion is always a special experience, thanks to the infinite beauty of the score and the dark allure of this seminal story. This version shocked us from the very first notes. We are used to hearing an opening that is measured and introspective, with voices that constantly seek beauty and tend towards a lament. Here, the audience was electrified by the expansive sound of an orchestra of forty odd musicians. The two ensembles sat side by side as the conductor alternated between opposition and dialogue. We were immediately gripped by his conducting style, which put us at the heart of this violent tragedy. After all, this passion is a tragedy in the strongest sense of the word. Death, the inevitable ending, is announced from the outset. The vast choral opening becomes a cry of refusal and revolt in the face of the inescapable. There is a total dramatisation of musical discourse and all the instruments are carried by this surge of rage. It is a version of Bach that moves forward, even as time is torn apart, buoyed by an orchestra that is rich in contrast and detail.”
Marc Dumont for Première Loge
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“Leonardo García Alarcón has taken advantage of the rich acoustics and layout of La Seine Musicale’s Patrick Devedjian Auditorium, placing the choirs in different parts of the stage and the hall. It results in a multitude of sonic experiences that surprise us and give rise to great emotion. The entrances and exits have been meticulously staged so that the overall discourse of the work is never disrupted or even disturbed. […]
Leonardo García Alarcón’s conducting is true to form – active without being superfluous and attentive at every level without rushing. It shows how well he has mastered this union of different spatial ensembles and the sometimes complex counterpoint, all while remaining humble. The Chœur de chambre de Namur and Chœur de l’Opéra de Dijon are incredibly homogenous and synchronised, despite the distance and isolation. There are still some rough edges that need to be worked out when the choral artists approach audience members, but the storm aria tames the waters. The conductor’s ample and precise gestures bring us safely back to port with a few angelic solos by the choral artists, which are always clear, present and well-phrased.”
Emmanuel Deroeux pour Olyrix
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20h00
Seine Musicale
Boulogne Billancourt, France
20h00
Auditorium of Dijon
Dijon, France