Cité de la Musique/Philharmonie de Paris / Arvustused

A powerful masterpiece not to be placed in everyone's hands, Rameau's Hippolyte et Aricie reflects the character of the composer, rebellious and rebellious. In 1983, we had just sensed the dark grandeur of a work brought to incandescence by an inspired conductor (Gardiner) and a Jessye Norman in a tunic swollen by the Aix summer mistral; unfortunately the sails had since been singularly reduced under less expert hands, Christie alone blew from time to time on the embers of the masterpiece and managed to revive its grandeur. Prince charming experienced in other repertoires, Sir Simon Rattle leaned in 2018 on the beautiful lyrical tragedy at the Staatsoper in Berlin. The production of this November 9 at the Philharmonie de Parisreunited with a similar cast with respect to the lead roles and again brought in the Freiburg Baroque Orchestra in full force. The British conductor has made a choice between the different versions of the work (creation of 1733 and subsequent revivals), he favors the versions with the richest orchestration such as the duet of the second act "Be satisfied with a victim". augmented by virtuoso violin lines. Unsurprisingly, the tenor Reinoud Van Mechelen embodies an ideal Hippolyte, a mixture of gentleness and authority respecting to the letter the subtlety of Ramist writing. More casual as regards the rhythmic precision of which the harpsichordist Philippe Grisvard follows the deviations with infinite art, the main roles however hardly lack imagination and sense of color, in the first place Anna Prohaska whose sometimes whimsical mood , the sounds taken from below or detimbrated rub shoulders with sublime highs and a sense of color worthy of a great jazz vocalist, especially in the ariette "Rossignols in love" of a vertiginous sensuality, the infinitely expressive incarnation of the baritone Gyula Orendt, Thésée by turns intense or ghostly, and of course Magdalena Kožená whose flawless technique compensates for a range that is a little too clear for this role (especially with the pitch a tone lower), and whose dramatic sense is impressive. Pluto of a splendid metal and with an impeccable vocalization, Jérôme Varnier manages to nourish a somewhat conventional role with a beautiful psychological intensity and a magnetic presence. Tiny detail, we could have exempted the skilful musette player from touching the tambourine to avoid some delays in the most brilliant dances… Never mind, a new wind is blowing on the great French Baroque.

Hippolyte et Aricie is presented this evening in a concert version like its creation at the private mansion of Rameau 's patron , Alexandre Le Riche de La Pouplinière in 1733, but the composer having reworked his work several times, it is the last version which is retained this evening (1757) and the opera is presented without a prologue, shortened by a few stories, preserving however Phèdre's monologue from Act III “Cruelle mère des amours ”. The rich timbre of soprano Evelin Novak marks her character as a high priestess with a certain authority and her vocalizations remain intense when she appeals to the vengeful gods. She also interprets the song of the matelote with precision and charm. The cavernous voice with the impressive resonances of the bass Jérôme Varnier who interprets Pluto offers a balance of intensity alongside Thésée. However, placed behind the orchestra (like all the soloists), his voice struggles somewhat to cross the orchestral mass in the aria " Qu'à servier mon courroux". Each speaking for an aria, Slávka Zámečníková leads the troupe on the hunt with a projected voice and Liubov Medvedevacelebrates the happy ending of a supple voice with delicate high notes.