Cappella Mediteranea

Bach, St Matthew Passion

©Philippe Maupetit

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

Une Passion de Bach en période pascale, qu’importe que l’on soit croyant ou non pourvu qu’on soit mélomane, est une tradition spirituelle que La Seine Musicale saison après saison. Vous pensiez justement être au fait de Bach et de ses Passions ? Nous aussi – mais avec Leonardo García Alarcón et en quelques minutes de conversation intense, c’est tout soudain une autre aventure qui se profile : un chemin de crête sur des cimes où l’air est plus vif.

Didier Lamare

A landmark in Western music

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. Audiences are bound to be transported by Leonardo García Alarcón’s dramatic instincts as he leads his ensembles, Cappella Mediterranea and the Chœur de Chambre de Namur, alongside a stellar cast.

Program

Jean Sebastien BACH

St Matthew Passion BWV 244

Cast

What the press is saying

Première Loge

“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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Olyrix

“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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Archive

30 Mars 2022

20h00

Seine Musicale

Boulogne Billancourt, France

05 Avril 2022

20h00

Auditorium de l'Opéra de Dijon

Dijon, France