At the Rencontres musicales de Vézelay, the public is always right

14

There are days like this where everything seems subject to the generous whim of a good fairy. The weather is wonderful, the air is light, the music is exciting. So this Saturday in late August, third and (already!) Penultimate day of the Rencontres musicales de Vézelay celebrating their 20e anniversary.

In Vézelay, a new choir director academy

For the first time, the event invested the church of Vault-de-Lugny, building with a composite charm between ancient testimonies and XIX additionse century colorful and demonstrative. The choir, wide, allows the singers and instrumentalists of the ensemble Surprises and their leader, Louis-Noel Bestion of Camboulas, to dispose without hindrance in front of the public to launch the first serious and solemn steps, the Dies Irae Lully who opens their program.

Another piece, surprisingly – and superbly – jubilant despite its funeral theme, will complete the concert: the De Profundis by Henry Desmarets in which orchestra and choir compete with eloquence and expressiveness to invite the believer to leave the realm of pain for that of hope and, even, bliss.

Two mirrored visions of Psalm 130

Between these testimonies of the great French style of the end of the XVIIe century, Louis-Noel Bestion of Camboulas inserted two visions of Psalm 130, " From the depths of my distress, I cry out to you One by Johann Sebastian Bach, the other by Philippe Hersant, today's composer explicitly referring to the master of yesterday.

If Bach's genius – the choir of entry, imposes from the start its astonishing musical architecture – is not to be proved, many spectators are seized by the power and the emotional force of the music of Philippe Hersant who chose to to make the voices dialogue with the viola da gamba – an instrument he particularly likes – and the organ. Intense, the interpretation of Surprises does justice to this powerful and meditative page that travels from the earth roughness to the clarity of heaven.

Responding to the enthusiasm of the listeners, the musicians offer a sumptuous bis Jephthah by Carissimi (1605-1674), magnifying the cohesion and fullness of the voices as the élan of the instrumentalists, all supported by the "organic" direction of Louis-Noël Bestion of Camboulas. The music breathes, expands, soothes, throbs. And touch us with the power of grace.

An exceptional sound experience

In the evening, in the basilica of Vézelay, another staff (24 singers a cappella), other centuries (XIXe to today), another geographical and religious era (between Baltic countries and Russia). At the music stand, Léo Warynski brings together Les Métaboles in a musical journey dominated by introspection, nuance and the search for these vibrations that emanate from the body of the singers to bloom throughout the stone building. from the ground to the highest vaults. Here is a sound experience where the basilica itself becomes a huge and bright musical instrument.

From the enveloping and tender Anthem of the Cherubim from Tchaikovsky to sparkling Holy Hymns from Schnittke to the hypnotic Magnificat from Arvo Pärt or the impressive Mysterious Nativity from Sviridov, the evidence is there: the vocal perfection of the Metaboles rises to a rarely reached level and the listening of the public immediately suffers. Leo Warynski gets singers what the best painters bring out of their palette: iridescent transparencies, brilliant textures, vibrant colors, heavenly or bright black pastels …

This breathtaking vocal plasticity and the intelligence of the program inscribe this evening of August 24, 2019 in golden letters in the annals of the Rencontres musicales de Vézelay. The public was not mistaken, celebrating more than warmly the performers and their leader.

(tagsToTranslate) sacred music (t) classical music (t) musical encounters (t) Vézelay (t) always (t) public (t) reason

LEAVE A REPLY

Please enter your comment!
Please enter your name here

This site uses Akismet to reduce spam. Learn how your comment data is processed.