{"id":8606,"date":"2023-06-13T15:39:42","date_gmt":"2023-06-13T13:39:42","guid":{"rendered":"https:\/\/cappellamediterranea.com\/production\/leonardo-garcia-alarcon-pasion-argentina\/"},"modified":"2024-03-27T12:33:51","modified_gmt":"2024-03-27T11:33:51","slug":"leonardo-garcia-alarcon-pasion-argentina","status":"publish","type":"post-concert","link":"https:\/\/cappellamediterranea.com\/en\/production\/leonardo-garcia-alarcon-pasion-argentina\/","title":{"rendered":"Leonardo Garc\u00eda Alarc\u00f3n, Pasi\u00f3n Argentina"},"content":{"rendered":"\n
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Leonardo Garc\u00eda Alarc\u00f3n’s first major composition<\/h2>\n\n\n\n

Leonardo Garc\u00eda Alarc\u00f3n delivers his first large-scale composition, an oratorio inspired by the Gospel of Judas, a third-century papyrus discovered in Egypt in the 1970s. This Gospel, dismissed in the early days of the Church, redeems Judas’ character and portrays him as Jesus’ favourite apostle. He does not betray his friend out of self-interest, but to free Christ from his physical body.<\/p>\n\n\n\n

Leonardo Garc\u00eda Alarc\u00f3n adopts this novel perspective in a genre that has spanned the history of music and creates a work that combines his inspirations, from Bach to the music of his native Argentina. He has teamed up with Marco Sabbatini, a playwright and lecturer at the University of Geneva, to adapt this Gospel and create a libretto that gives the female characters a central role.<\/p>\n<\/div>\n<\/div>\n\n

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“Les \u00e9rudits pourront donc voir dans cette\u00a0Passione di Ges\u00f9\u00a0\u2013 rebaptis\u00e9e\u00a0Pasi\u00f3n Argentina\u00a0\u00e0 l\u2019occasion du festival de Saint-Denis \u2013 toute l\u2019\u00e9rudition qu\u2019ils souhaitent, beau reflet de la culture impressionnante du compositeur. Pour autant, ce n\u2019est pas cela qui fait la grandeur d\u2019une \u0153uvre\u00a0: c\u2019est son \u00e2me. Cette magie inexplicable qui fait que les c\u0153urs battent, que la vie appara\u00eet l\u00e0 o\u00f9 rien ne se trouvait avant. C\u2019est cela une cr\u00e9ation v\u00e9ritablement r\u00e9ussie. Et cette\u00a0Passione\u00a0en est un exemple absolu, sublim\u00e9e par l\u2019ensemble des artistes, qui font de l\u2019\u00e9coute de cette \u0153uvre passionnante et passionn\u00e9e un moment inoubliable.”<\/p>\n

Elodie Martinez – Opera online<\/p>\n <\/div>\n

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“V\u00e9ritable \u00e9crin, la basilique vibre d\u00e9j\u00e0 lors des derniers raccords au son du bandon\u00e9on (de Wiliam Sabatier), mais aussi par des sonorit\u00e9s plus jazz, rock et baroques. Au fond, l’ensemble Cappella Mediterranea. Non loin, le c\u00e9l\u00e8bre ch\u0153ur de chambre de Namur, suivi du ch\u0153ur compos\u00e9 de jeunes en r\u00e9sidence au Conservatoire \u00e0 rayonnement r\u00e9gional d’Aubervilliers. On chante en italien, on s’explique en espagnol, en fran\u00e7ais, en anglais. La derni\u00e8re demeure des rois de France n’a jamais \u00e9t\u00e9 aussi vivante.”<\/p>\n

Rudy Degardin – France T\u00e9l\u00e9visions<\/p>\n <\/div>\n

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“Saluons d\u2019abord la qualit\u00e9 de tous les ch\u0153urs, tr\u00e8s sollicit\u00e9s par la mise en espace d\u2019Ana\u00efs de Courson d\u2019une part (qui les fait \u00e9voluer dans les trav\u00e9es aussi bien que sur la petite sc\u00e8ne am\u00e9nag\u00e9e devant l\u2019orchestre) que par la partition qui leur r\u00e9serve des passages aussi virtuoses qu\u2019expos\u00e9s. Autant d\u2019\u00e9loges pour l\u2019orchestre du maestro ensuite : on n\u2019a rarement l\u2019occasion d\u2019entendre un ensemble sur instruments anciens jouer de la musique contemporaine.”<\/p>\n

Guillaume Saintagne – Forumop\u00e9ra<\/p>\n <\/div>\n <\/div>\n <\/div>\n\n

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