samedi 30 mars 2013

Best of (4) répétition du 31 mars reportée au 7 avril 2013

Attention, dimanche c'est repos car la répétition a été reportée comme vous le disait Christophe L. dans son mail du 4 mars (pensez à ceux qui n'ont pas de mail si vous les voyez) :
  • "la prochaine date prévue pour une répétition du "best of" le dimanche 31 mars tombait en fait le DIMANCHE DE PAQUES. C'est évidemment une mauvaise date et personne ne sera vraiment disponible ce jour là ( pont de 3 jours + Boulegan à l'oustal à St jean etc) 
  • donc je vous propose de déplacer cette répétition au dimanche suivant le :  
dimanche 7 avril à 15h au foyer 
  • A la dernière répétition, nous avions revu Purcell "To woden thanks we render" et la passacaille du King ("How happy" et "No joys")  + O kolo + la Habanera+ In the midst of life. Ca commençait à bien sonner ! 
Ecoutez ! 
La répétition s'est conclue par une assemblée générale de l'Art-Scène intéressante et animée,  et par un pot..."
Normalement, si tout se passe comme prévu, ce sera un dimanche afro-haïtien : "Bembé", "Sesimfumene" et "Jerikho" et aussi "Orisha oko", "Yembale"....

Dansez !

vendredi 29 mars 2013

YA d'la voix 7 et 8 juin 2013

Demandez le programme !

Le "clou" du Festival : "Les Huguenots" (Meyerber) 
par l'Ensemble vocal des Cévennes dirigé par Karen Kapferer 
avec l'Orchestre des Cévennes, des chanteurs solistes et un quatuor à cordes !

Le livret ? Roméo et Juliette chez les protestants et les catholiques... en cinq actes.

( Sorry but I don't find the synopsis' french version !)

The story culminates in the historical St. Bartholomew's Day Massacre in 1572 in which thousands of French Huguenots (Protestants) were slaughtered by Catholics in an effort to rid France of Protestant influence. Although the massacre was a historical event, the rest of the action, which primarily concerns the love between the Catholic Valentine and the Protestant Raoul, is wholly a creation of Scribe.

The chateau of the Count
A short orchestral prelude, featuring the Lutheran chorale Ein feste Burg, replaces the extended overture Meyerbeer originally intended for the opera. The Catholic Count of Nevers is entertaining his fellow noblemen. They await the arrival of Raoul, and are surprised to hear that this emissary of the Court is a Huguenot. After a drinking song at Raoul's entry, the newcomer is prevailed upon to give a tale of love. Raoul tells of an unknown beauty he has rescued and fallen in love with. (With a daring and unusual stroke of orchestration, Meyerbeer accompanies this aria with a solo viola d'amore). Raoul's Protestant servant Marcel is shocked to see his master in such wicked company and sings a hearty Protestant prayer (to the tune of 'Ein feste Burg'). He then sings a Huguenot battle song from the siege of La Rochelle, Pif, paf.
The arrival of a mysterious lady stranger to speak to Nevers (off stage) interrupts the proceedings. Raoul recognises her as his mysterious beauty. In fact she is Nevers' intended bride, Valentine (daughter of St. Bris), instructed by the Queen to break off her engagement. The page Urbain enters with a secret message for Raoul, daring him to come blindfolded to a secret rendezvous.

The chateau and gardens of Chenonceaux
Queen Marguerite looks into a mirror held by her enamoured page Urbain, and sings the virtuoso pastorale, O beau pays de la Touraine. Valentine enters and reports that Nevers has agreed to break the engagement. Marguerite's entourage of ladies enter dressed for bathing. This leads to a ballet. Raoul enters blindfolded and the ladies tease him. With his sight restored, the Queen orders Raoul to marry Valentine to cement relations between the Protestant and Catholic factions. In a complex final ensemble, while a chorus of nobles swears friendship, Raoul, who believes Valentine is the mistress of Nevers, refuses to comply with the Queen's command. The nobles then swear revenge, and Marcel reproaches Raoul for mixing with Catholics.

Paris, the 'Pré aux clercs' on the left bank of the Seine, at sunset
The act opens with extensive scene setting of citizens, soldiers, church-goers and gypsies. Valentine has just married Nevers, but remains in the chapel to pray. Marcel delivers a challenge from Raoul. Saint-Bris decides to attack Raoul, but is overheard by Valentine. A watchman declares curfew (the scene anticipating a similar one in Wagner's Die Meistersinger). Valentine, in disguise, tells Marcel of the plot against Raoul. The duel is interrupted by rival factions of Protestant and Catholic students, and only the arrival of the Queen stems the chaos. Raoul realises that Valentine has saved him and that his suspicions of her were unfounded. However, now she is wedded to his enemy. Nevers leads her away in a splendid procession.

A room in Nevers' Parisian town-house
Valentine, alone, is surprised by Raoul who wishes to have one last meeting with her. The sound of approaching people leads Raoul to hide behind a curtain, where he hears the Catholic nobles, accompanied by three monks, who bless their swords, pledge to murder the Huguenots. Only Nevers does not join in the oath. This scene is generally judged the most gripping in the opera, and is accompanied by some of its most dramatic music. When the nobles have departed, Raoul is torn between warning his fellows and staying with Valentine, but finally duty triumphs over love. Valentine faints as Raoul makes his escape.

A ballroom
The Protestants are celebrating the marriage of the Queen to Henry of Navarre. The tolling of a bell interrupts the proceeding, as does the entrance of Raoul, who informs the assembly that the second stroke was the signal for the Catholic massacre of the Huguenots.
[A performance tradition existed in some centres of ending the opera with Scene 1 and its suggestion of the massacre]

A cemetery: in the background, a ruined Protestant church
Nevers dies protecting Marcel, who is wounded; Valentine agrees to become a Protestant to marry Raoul and Marcel carries out the nuptials. A 'chorus of murderers' shoots all three, after they express their vision of heaven, 'with six harps'. They are finally murdered by St. Bris and his men, he realising only too late that he has killed his own daughter. (Cf. the closing scene of Fromental Halévy's opera, La Juive, libretto also by Scribe, produced a year earlier than Les Huguenots). The entrance of the Queen, and the chorus of soldiers singing 'God wants blood!', brings the opera to a close.

Extrait de :

dimanche 17 mars 2013

Les reconnaissez-vous ?

Bien de chez nous
Les choristes des P'tis matins participent à la figuration parmi une bonne soixantaine de figurants du film en cours de tournage à Lasalle : "Bien de chez nous". 

Photographie: Jean Yves Arthur
Scénographie: Henri Delatour
Créateur de masques: Michel Proc

Christophe Lombard est mentionné au générique au titre de : Auteur Compositeur, guitare & banjo