{"id":2067,"date":"2021-08-26T10:49:19","date_gmt":"2021-08-26T09:49:19","guid":{"rendered":"https:\/\/accent4.com\/preprod\/?p=2067"},"modified":"2021-08-26T10:56:39","modified_gmt":"2021-08-26T09:56:39","slug":"dans-un-rythme-endiable","status":"publish","type":"post","link":"https:\/\/accent4.com\/preprod\/dans-un-rythme-endiable-2067\/","title":{"rendered":"DANS UN RYTHME ENDIABLE"},"content":{"rendered":"\n

9 ao\u00fbt 2021<\/p>\n\n\n\n

Grosses Festspielhaus<\/p>\n\n\n\n

W.A. Mozart : Cosi Fan tutte<\/strong><\/p>\n\n\n\n

Elsa Dreisig (Fiordiligi), Marianne Crebassa (Dorabella), Andr\u00e9 Schuen (Guglielmo), Bogda, Volkov (Ferrando), Lea Desandre (Despina), Michael Nagy (Don Alfonso) Christof Loy  (mise en sc\u00e8ne), Ch\u0153urs de l\u2019Op\u00e9ra de Vienne, Orchestre Philarmonique de Vienne, Johana Mallwitz (direction).<\/p>\n\n\n\n

Des trois op\u00e9ras vus cet \u00e9t\u00e9 \u00e0 Salzbourg, la production de Cosi fan tutte<\/em> due \u00e0 Chritof Loy s\u2019est r\u00e9v\u00e9l\u00e9e la plus efficace et la plus fid\u00e8le \u00e0 l\u2019esprit de son auteur. La recette en est simple, car bas\u00e9e uniquement sur le jeu des six personnages d\u2019apparence jeunes, aussi bons acteurs que chanteurs. Pas de d\u00e9cor, un grand mur blanc perc\u00e9 de deux portes ferme l\u2019espace sc\u00e9nique. Il s\u2019entrouvrira partiellement au cours du second acte, laissant appara\u00eetre un arbre dans la p\u00e9nombre. Le ch\u0153ur n\u2019est pas visible et ses deux prestations sont chant\u00e9es en coulisse. Tout le monde est habill\u00e9 en costume noir contemporain, \u00e0 l\u2019exception des deux h\u00e9ros qui, devenus albanais, adoptent des tenues color\u00e9es d\u00e9contract\u00e9es. \u00c0 noter que l\u2019op\u00e9ra est jou\u00e9 sans entracte, quelques coupures l\u2019ayant opportun\u00e9ment raccourci sans lui nuire. Cela permet d\u2019acc\u00e9l\u00e9rer le rythme endiabl\u00e9 de l\u2019ouvrage.<\/p>\n\n\n\n

\u00c0 part Michael Nagy (rempla\u00e7ant Johannes Martin Kr\u00e4nzle), efficace Don Alfonso<\/em>, les cinq autres protagonistes sont assez jeunes et paraissent avoir l\u2019\u00e2ge de leur personnage. Tous sont d\u2019\u00e9gal talent, et se r\u00e9v\u00e8lent aussi bons chanteurs que com\u00e9diens. On ne peut que tous les admirer sans ordre pr\u00e9f\u00e9rentiel. Pour la premi\u00e8re fois \u00e0 Salzbourg depuis la cr\u00e9ation du Festival en 1920, la direction musicale d\u2019un op\u00e9ra \u00e9tait confi\u00e9e \u00e0 une femme, Joana Mallwitz. Il \u00e9tait temps que le Festival comprenne que le talent n\u2019est pas affaire de sexe .Sa direction vive et raffin\u00e9e \u00e9tait au-dessus de tous les \u00e9loges.<\/p>\n\n\n\n

Pierre Iung<\/p>\n\n\n\n

\"\"

Marianne Crebassa (Dorabella), Elsa Dreisig (Fiordiligi), Johannes Martin Kr\u00e4nzle (Don Alfonso)
Photo : Monika Ritterhaus<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

9 ao\u00fbt 2021 Grosses Festspielhaus W.A. Mozart : Cosi Fan tutte Elsa Dreisig (Fiordiligi), Marianne Crebassa (Dorabella), Andr\u00e9 Schuen (Guglielmo), Bogda, Volkov (Ferrando), Lea Desandre (Despina), Michael Nagy (Don Alfonso) Christof Loy  (mise en sc\u00e8ne), Ch\u0153urs de l\u2019Op\u00e9ra de Vienne, Orchestre Philarmonique de Vienne, Johana Mallwitz (direction). Des trois op\u00e9ras vus cet \u00e9t\u00e9 \u00e0 Salzbourg, la […]<\/p>\n","protected":false},"author":3,"featured_media":2071,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"episode_type":"","audio_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","jnews-multi-image_gallery":[],"jnews_single_post":{"subtitle":"","format":"standard","video":"","gallery":"","source_name":"","source_url":"","via_name":"","via_url":"","override":[{"single_blog_custom":"","sidebar":"","second_sidebar":"","share_position":"","share_float_style":"","post_date_format":"","post_date_format_custom":"","number_popup_post":"1"}],"image_override":[{"single_post_thumbnail_size":"","single_post_gallery_size":""}],"trending_post_position":"","trending_post_label":""},"jnews_primary_category":{"id":""},"jnews_override_counter":{"view_counter_number":"0","share_counter_number":"0","like_counter_number":"0","dislike_counter_number":"0"},"footnotes":""},"categories":[178,10],"tags":[984,269,985],"series":[],"class_list":["post-2067","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-compte-rendu-opera","category-magazine","tag-iung","tag-mozart","tag-salzbourg"],"episode_featured_image":"https:\/\/accent4.com\/preprod\/wp-content\/uploads\/2021\/08\/cosi-fan-tutte-2020-site.jpg","episode_player_image":"https:\/\/accent4.com\/preprod\/wp-content\/uploads\/2024\/10\/Design-Accent-4-Basic-scaled.jpg","download_link":"","player_link":"","audio_player":false,"episode_data":{"playerMode":"dark","subscribeUrls":{"amazon":{"key":"amazon","url":"","label":"Amazon","class":"amazon","icon":"amazon.png"},"deezer":{"key":"deezer","url":"","label":"Deezer","class":"deezer","icon":"deezer.png"},"spotify":{"key":"spotify","url":"","label":"Spotify","class":"spotify","icon":"spotify.png"},"youtube":{"key":"youtube","url":"","label":"YouTube","class":"youtube","icon":"youtube.png"}},"rssFeedUrl":"https:\/\/accent4.com\/preprod\/feed\/podcast\/accent-4","embedCode":"

DANS UN RYTHME ENDIABLE<\/a><\/blockquote>