{"id":12930,"date":"2024-03-18T10:06:29","date_gmt":"2024-03-18T09:06:29","guid":{"rendered":"https:\/\/cappellamediterranea.com\/production\/monteverdi-il-ritorno-dulisse-in-patria\/"},"modified":"2025-06-06T14:34:31","modified_gmt":"2025-06-06T12:34:31","slug":"monteverdi-il-ritorno-dulisse-in-patria","status":"publish","type":"post-concert","link":"https:\/\/cappellamediterranea.com\/en\/production\/monteverdi-il-ritorno-dulisse-in-patria\/","title":{"rendered":"Monteverdi, Il ritorno d’Ulisse in patria"},"content":{"rendered":"\n
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After The Coronation of Poppaea<\/em> and L’Orfeo<\/em> in 2022, the Festival d’Aix-en-Provence continues its memorable Monteverdi cycle under the direction of Leonardo Garc\u00eda Alarc\u00f3n and Cappella Mediterranea with Il ritorno d’Ulisse in patria<\/em> – reaffirming the composer’s essential place in its programming. <\/h4>\n\n\n\n
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\u00ab Mais c\u2019est bien la musique qui fait tout le prix de cette soir\u00e9e aixoise. [\u2026] Chacun de ces seize musiciens de Cappella Mediterranea fait fr\u00e9mir une vie aux tons changeants. Les sonorit\u00e9s peuvent \u00eatre amples dans telle ritournelle, subtiles dans les accompagnements intimes, souvent chatoyantes. La diversit\u00e9 des choix musicaux du chef donne \u00e0 l\u2019ensemble de la soir\u00e9e des couleurs multiples et une dynamique imparable. \u00bb<\/p>\n

Marc Dumont<\/p>\n <\/div>\n

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\u00ab L\u2019orchestre Cappella Mediterranea est bien une petite m\u00e9diterran\u00e9e, mer ferm\u00e9e impr\u00e9visible, aux temp\u00eates redoutables. La fosse, aux ritournelles punchy, est \u00e9lectrisante. Les trombones, en galerie, sont solennels, tandis que clavecin, orgue, th\u00e9orbe et archiluth \u00e9grainent et foulent en fosse leur vendange de raisin chasselas. \u00bb<\/p>\n

Florence Lethurgez<\/p>\n <\/div>\n

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\u00ab C\u2019est l\u2019apoth\u00e9ose finale du festival de cette ann\u00e9e. [\u2026] c\u2019est au niveau musique que la jubilation est totale. La musique est servie par une distribution vocale admirable. L\u2019orchestre Capella Mediterranea de Leonardo Garcia-Alarcon est de toute premi\u00e8re qualit\u00e9. Ah, le soin que met le chef Alarcon \u00e0 arrondir ses phras\u00e9s, \u00e0 n\u00e9gocier ses ralentis, \u00e0 \u00e9tirer ses fins de phrase ! \u00bb <\/p>\n

Andr\u00e9 Peyregne<\/p>\n <\/div>\n <\/div>\n <\/div>\n\n

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Ulysses’ return to his homeland<\/h2>\n\n\n\n

The work is particularly dear to the director, Pierre Audi, who staged his first production – also of a work from the repertoire – at the Amsterdam Opera in 1990: how does he view it thirty years later? A judicious arrangement tightens the brilliantly disparate material into a deeply moving drama, which this production places under the banner of simplicity and sensuality. Presenting the material bare, a talented cast of young singer-actors exalts the intimate palpitation of the music and the mystery of the characters: how can we understand Penelope’s wait and Ulysses’ return? It’s an approach in keeping with Leonardo Garc\u00eda-Alarc\u00f3n’s sunny approach to music, always insisting on the dance element it contains. <\/p>\n<\/div>\n\n\n\n

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