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Orchestre national de Lyon: Wagner et Verdi

 
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TER1310
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PostPosted: Tue Apr 25, 2017 7:49 pm    Post subject: Orchestre national de Lyon: Wagner et Verdi Reply with quote

Jeudi 05 octobre - 20h
Samedi 07 octobre - 18h
Grande salle
Bryn Terfel / Lahav Shani

Programme:

Wolfgang Amadeus Mozart Symphonie n° 40, en sol mineur, KV 550 — 30 min
Giuseppe Verdi Credo de Iago «Credo in un Dio crudel», extrait d’Otello — 6 min
Giuseppe Verdi Monologue de l’honneur «L’onore ! Ladri !», extrait de Falstaff — 5 mi
Richard Wagner Siegfried-Idyll — 23 min
Richard Wagner Adieux de Wotan «Leb’ wohl, du kühnes, herrliches Kind» et Enchantement du feu, extraits de La Walkyrie — 18 min

http://www.auditorium-lyon.com/Programmation-17-18/Symphonique/Orchestre-national-de-Lyon/Wagner-et-Verdi

http://www.ladepeche.fr/article/2017/04/25/2562832-orchestre-national-lyon-nouvelle-direction-volonte-rajeunir-public.html

Google Translate:
If the Lyon public can see or see renowned artists like violinist Renaud Capuçon, pianist Radu Lupu, cellist Truls Mork, singer Bryn Terfel or chef Eliahu Inbal, many young musicians will also be on display. Four orchestra conductors will succeed each other during the season.
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TER1310
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PostPosted: Thu Oct 05, 2017 1:44 pm    Post subject: Reply with quote

Auditorium - ONL‏ @AuditoriumONL
Répétition générale avant le concert de ce soir avec @Bryn_Terfel et Lahav Shani !



https://pbs.twimg.com/media/DLXdrCvW0AAqs-5.jpg

https://pbs.twimg.com/media/DLXducoXcAAgeN9.jpg

https://pbs.twimg.com/media/DLYU_nsXkAAac4b.jpg
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TER1310
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PostPosted: Sat Oct 07, 2017 7:42 pm    Post subject: Reply with quote

Lyon this evening.


https://pbs.twimg.com/media/DLjzHsWW4AA6uqJ.jpg

https://pbs.twimg.com/media/DLjzHscX0AUiIoG.jpg

https://pbs.twimg.com/media/DLjzHsnXcAA3Smd.jpg

https://pbs.twimg.com/media/DLjzHsTW0AAstca.jpg
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PostPosted: Tue Oct 10, 2017 2:59 pm    Post subject: Reply with quote

Google Translate:

Bryn Terfel in Aix, a Song of the Earth for a city of water and art

[i]Bryn Terfel and the conductor Lahav Shani, sharing the head of the Orchester National de Lyon, make the Grand Théâtre de Provence resound with an "elementary" sound energy. The voice, made of earth and air, the orchestra, water and fire, delight the ears of a public acquired in advance to the grand dimensions of the show-Terfel.


The program opens on a symphonic portico, "The" G minor, KV 550, by Mozart, as if to root the singer in his stage territory. Mozart is one of the operating countries of the Welsh baritone-baritone, but the program simply and subtly chooses to evoke it, with this work whose final has lyric theater accents. This is a well-known score, perhaps too much, and the challenge is for young chef Lahav Shani, in perfect contrast with the singer, to infuse unheard-of into what has been heard and pre -heard. The perfectly flexible mechanism of its direction gives the score a great clarity. The articulations and layers of writing and stamp are particularly readable. Outside of the second movement, the Andante, with the tempo weighted a little too much weight, especially at the resumption, music seems to spring from its own source, laughing or torrential. The contrast of character is there, which prefigures the two Verdian pages that will then seize Terfel: the terrific of Otello and the jester of Falstaff (which he will interpret in Paris at the end of the month).

The formula of the lyric recital with orchestra transforms the latter into an immense piano of instruments whose leader must know how to play as close to the breath, the sound and the meaning that the singer confides to him. The phalanx then expanded, leaving Mozart for Verdi, as if adjusting to the vocal dimensions of his soloist.

Bryn Terfel then seizes, in a terrifying statue, the Credo de Iago, "Credo in un Dio crudel", extract of Act II of Otello. At the same time he seizes the audience, a victim who is an accomplice who expects it with all his ears. The timbre modulations are electrifying. They make the vocal magic of this bass baritone there, amongst his peers: almost luminous sweetness at the top of the tessitura (the faith), darkness chilling towards grave (death). They are united by his breath of Sturm und Drang (following the hurricanes and the moves of the Mozartian symphony), its orchestral amplifications and its diction of tribune: that is for the vocal instrument, which seems to make the sound emerge from its native land .

The corporeal instrument then intervenes, with a buffoonish dimension, which seems to arise from a world of fair, people, and origin. The character is in front of himself in the Monologue of Honor "L'onore! Ladri! , Excerpt from Act I of Falstaff which the singer will perform at the Paris Opera shortly -reservations here). The singer and the man are also, who perform a real stand up. Pantomime of silent cinema (the phalanx of Lyons is at ease), play with the body of the orchestra (a tibia of the first violin, a hair of the conductor), are the ingredients expected with the same connivance by the public , and accomplished with jubilation by the artist.

Applause worthy of an end of concert punctuate the first part of a recital, finally thematic, since after Verdi, comes Wagner, both composers-monuments recently commemorated.

The great orchestral pause is a miraculous Siegfried-Idyll that the young Israeli leader, a disciple of Barenboim, manages to contain between the limits of pianissimo and mezzo-forte, as if to bring back the music to itself, after its scenic expansions . Wagnerian textures gradually rise from the plateau to germinate to the idyllic ecstasy a very patient crescendo always ready to go down to earth. The music takes place inside, from the minimalist gestures of the chief, in osmosis with the almost-silence. The orchestra is a desirable matter, with its folds and its projections. The conductor's wand carefully removes a symphonic corset. So much for the Wagnerian desire, which prefigures the audience to see his singer again. He then reappears, in God, to bid farewell.

The dramatic orchestra is re-expanded for Wotan's Farewells: "Leb 'wohl, kühnes, herrliches Kind" and Enchanting Fire, extracts from Act III of The Walkyrie. The powerful breath of Terfel weaves the long line of the myth, stretched by a narrative of brass and wandering, but who knows how to find its right place in the dense orchestral fabric. The "passages" of colors, from the gentle taming to the incisive accusation, are even more striking with Wotan than with Iago. Terfel, as an enchanter, perhaps accomplishes here an unformed wish of Wagner: to raise the sensible, more than the power, to the rank of the myth. It is the phalanx which, after the singer's departure, and his art of fugue, maintains the crackling fire of the enchantment of fire.

Long applause ended, after paying a well-deserved tribute to the various orchestra desks, particularly noteworthy horns, and having greeted in a connivance, somewhat shaken by the absence of bis, their Bryn Terfel.


https://www.olyrix.com/articles/production/1396/bryn-terfel-et-lahav-shani-a-aix-en-provence-un-chant-de-la-terre-pour-une-ville-deau-et-dart-6-octobre-2017-article-critique-chronique-compte-rendu-opera-recital-grand-theatre-provence-orchestre-national-de-lyon-mozart-verdi-wagner-falstaff-otello-credo-
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Last edited by TER1310 on Thu Oct 12, 2017 3:59 pm; edited 2 times in total
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PostPosted: Thu Oct 12, 2017 3:44 pm    Post subject: Reply with quote

Google Translate:

Bryn Terfel sings Verdi and Wagner
Lahav Shani conducts the Orchester National de Lyon


Bryn Terfel is a first-time performer at the GTP of Aix-en-Provence, performing in a Verdi and Wagner program, accompanied by the Orchester National de Lyon. Before the appearance of the baritone-bass, the poster presents Wolfgang Amadeus Mozart's Symphony in G Minor K.550 No. 40. The training is well oiled, under the direction of the young Israeli leader Lahav Shani - a smooth music, no surprise either. Still, from the second movement, the listeners begin to find the time a little long. One wonders if such a piece is indispensable in opening an evening built around a star singer. It is not even a mouthing or rather a heating of the ears, so the nice Mozartian piece is far from the program of the concert. Actually, we would have preferred the more conventional alternation between openings and airs.
The atmosphere changes radically when the singer enters the scene - freshly shaved is not customary! - to interpret the creed of Iago (Otello), one of the most violent Verdian passages. Terfel blackens the sound artificially on the first notes, to bring more bite, more aggressiveness. We can also hear some fixed sounds from him, and the orchestra plays now a little strong. From the last work of Verdi, the following air L'onore! Ladri! was first presented in English by the singer like "a composer of eighty years who wrote a sensational book Boito". Falstaff is really second nature to Terfel, he is immediately in the character, with his mimicry and his strong stature. He took the calf the first violin and then pulls a hair to the head when he asks whether "honor can repair a tibia" and "a hair". Vocally also, the instrument is more natural, less forced, more elegant.
After the intermission, the second part opens with Wagner's Siegfried-Idyll, already more in a position to introduce the final of Die Walküre that follows. Again, the rendering is nice, but one can detect a slightly anticipated attack to the violins, or a suspect sound of the horn. The farewells of Wotan then constituted the piece of choice of the concert, role of the roles in which the brilliant Welsh made his debut at Covent Garden, twelve years ago. After some fixed sounds at the beginning of the air, again, which do not sound divinely, it must be recognized, his perfect knowledge and restitution of the text, allied to a grain of vocal alternately authoritarian or emotional, are wonderful. The exercise is probably easier in this room than last July at the Antique Theater in Orange where it was pushing to the maximum, sometimes as a derailment limit. To the general surprise of the public, no bis was prepared; the evening ends there. A second part of thirty minutes and thirty minutes also of singing in total, it is a little chiche ... one would have preferred a little more for less symphony.


http://www.anaclase.com/chroniques/bryn-terfel-chante-verdi-et-wagner


A Prince of Wales

Two appearances on stage were enough for Bryn Terfel, Welsh baritone-bass, to subdue the Aix audience. It must be said that his performance, both in the famous air of Iago, Credo in a crude Dio in Otello and in the monologue of honor L'onore! Ladri! of Falstaff, of the eponymous opera of Verdi, was great. The imposing singer of the other Channel, a magnificent interpreter and actor, with an irreproachable vocal technique, excelled in these two Verdian characters, though diametrically opposed. To the deceitfulness of Iago, the accuracy of facial features deformed by cruelty, Sir John Falstaff's lightness replied, all in mimicry and play-acting as this delightful musical farce of an elderly Verdi requires, with this work to his career as a composer of operas. This capacity of metamorphosis, this ease to pass from one role to another with presence tells a lot about the quality of this artist. His entry on stage, rather than being facilitated by an instrumental instrumental augurale of circumstance, was preceded by the Symphony 40 of Mozart, played by the Lyon National Orchestra, but little related to the theme of the evening! Wagner's Sidney's Idyll, which opened the second part, directed without emphasis by Lahav Shani, a tender and languorous orchestral page, initiated perfectly the return of the master then transfigured into Wotan. Alone in front of this Wagnerian orchestra with its undulating brass, Bryn Terfel interpreted this heartbreaking and sublime tone of Wotan's farewells from the Walkyrie of a Wagner at the pinnacle of his art, with ease and presence that left a voice unaccustomed to performance of high fly. The silence that followed the end of the air speaks louder than words. Royal!

http://www.journalzibeline.fr/critique/un-prince-de-galles/
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