Name: Resistance
Start: 2024-03-28T00:00:00.000Z
End: 2024-03-29T00:00:00.000Z
Location: Salle Poirel

Organization

Admin

Opéra national de Lorraine

Conductor

Marta Gardolińska

Andrei Ioniță

Cello

Orchestra

Orchestre de l'Opéra national de Lorraine

Instrumentalist

Cellist

Resistance

Nancy

France

Salle Poirel

Resistance: Concert Various (+2 More)

Public

Concert

Cello Concerto in E Minor, Op. 85

Sinfonietta  FP 141

Sagar Haldar

Approved

Accordionist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Mezzo-soprano

Singer

Contralto

Countertenor

Bass-baritone

Bass

Baritone

Tenor

Soprano

Alto

Child vocalist

Continuo

Silent

Spoken

L’Étude pour orchestre à cordes est l’une des trois partitions de Pavel Haas qui nous soient parvenues de son activité créatrice à l’intérieur du camp de concentration de Terezìn (Theresienstadt). Ce camp de transit, installé par les Nazis pour parquer dans d’épouvantables conditions les artistes juifs célèbres d’Europe centrale avant leur déportation plus à l’est, vit en effet se développer une intense vie culturelle et artistique. Cette Étude fut ainsi composée pour l’orchestre à cordes constitué avec les moyens du bord dans le camp-ghetto par le chef d’orchestre Karel Ančerl. Par sa complexité et ses difficultés techniques, elle témoigne jusqu’aujourd’hui de l’intégrité et de l’exigence artistique que Haas put maintenir dans son art dans les plus atroces conditions. La partition fut créée par Ančerl et son orchestre au cour de l’été 1944, quelques semaines seulement avant que l’ensemble des protagonistes ne fut envoyé à Auschwitz, où ils furent assassinés dès leur arrivée le 17 octobre 1944. Karel Ančerl en fut le seul rescapé, qui après-guerre put faire revivre la partition.

Autour de cette œuvre poignante entre toutes, viennent se répondre trois partitions riches de contrastes. Null, de la compositrice ukrainienne Victoria Polevá, relève d’une esthétique proche de celle de Pärt ou de Vasks, en un minimalisme spirituel brûlant qui fait profondément écho à l’intensité de l’Étude de Haas. Le nostalgique Concerto d’Elgar comme la Sinfonietta de Poulenc nous ramènent quant à eux en terres plus amènes et réconfortantes.

français

The Étude for string orchestra is one of the three scores by Pavel Haas that have come down to us from his creative activity inside the Terezìn (Theresienstadt) concentration camp. This transit camp, set up by the Nazis to house famous Jewish artists from Central Europe in appalling conditions before they were deported further east, was home to an intense cultural and artistic life. This Étude was composed for the string orchestra set up by the conductor Karel Ančerl in the ghetto and using whatever resources were available. Its complexity and technical difficulties bear witness to the integrity and artistic standards that Haas was able to maintain in his art under the most atrocious conditions. The score was premiered by Ančerl and his orchestra in the summer of 1944, just a few weeks before all the protagonists were sent to Auschwitz, where they were murdered on arrival on 17 October 1944. Karel Ančerl was the only survivor, and was able to revive the score after the war.

This most poignant of works is accompanied by three contrasting scores. Null, by Ukrainian composer Victoria Polevá, features an aesthetic close to that of Pärt or Vasks, with a burning spiritual minimalism that echoes the intensity of Haas's Étude. Elgar's nostalgic Concerto and Poulenc's Sinfonietta take us back to friendlier, more comforting lands.

English

Resistance by Various, Elgar, Poulenc, Vin 29 Mart. 2024, De la (2024/2024), Dirijor Marta Gardolińska, Salle Poirel, Nancy, France

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