{"id":2607,"date":"2024-06-06T19:25:18","date_gmt":"2024-06-06T17:25:18","guid":{"rendered":"https:\/\/pulsations.art\/?p=2607"},"modified":"2024-07-03T18:54:30","modified_gmt":"2024-07-03T16:54:30","slug":"wiener-symphoniker-victoria-hall-geneve-27-mai-2024","status":"publish","type":"post","link":"https:\/\/pulsations.art\/en\/wiener-symphoniker-victoria-hall-geneve-27-mai-2024\/","title":{"rendered":"Dvorak \/ Strauss, Petr Popelka, Wiener Symphoniker, Victoria Hall, Gen\u00e8ve, May 27th"},"content":{"rendered":"\t\t
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Gen\u00e8ve \u00e0 l'heure viennoise<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Un beau concert, sans accrocs, un bis g\u00e9n\u00e9reux, mais un Dvo\u0159\u00e1k et un Strauss un rien routiniers.<\/i><\/p>

Cr\u00e9dits photographiques :\u00a0<\/p>

Peter Rigaud pour l’orchestre (\u00e0 gauche)<\/p>

Julia Wesely pour Julia Hagen (\u00e0 droite)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Date et lieu : 27 mai 2024, Victoria Hall de Gen\u00e8ve
Chef d\u2019orchestre : Petr Popelka
Violoncelle : Julia Hagen<\/p>\n

Programme :<\/span><\/strong><\/p>\n

1. Dvo\u0159\u00e1k, Concerto pour violoncelle <\/em>en si<\/em> mineur, op. 104<\/strong><\/p>\n

2.  Richard Strauss : Don Juan<\/em>, po\u00e8me symphonique, op. 20<\/strong><\/p>\n

3. Richard Strauss : Till L\u2019Espi\u00e8gle<\/em>, po\u00e8me symphonique, op. 28<\/strong><\/p>


<\/strong><\/p>\n

Il est toujours jouissif de participer aux concerts organis\u00e9s par le service culturel Migros,  d\u2019excellente tenue, et qui nous permettent de voyager et de d\u00e9couvrir les plus grands interpr\u00e8tes et les plus belles phalanges.<\/p>


<\/p>\n

La soir\u00e9e a d\u00e9but\u00e9 avec le Concerto pour violoncelle<\/em> de Dvo\u0159\u00e1k, tr\u00e8s bien interpr\u00e9t\u00e9 par Julia Hagen. Cr\u00e9\u00e9e le 19 mars 1896 \u00e0 Londres, cette \u0153uvre a \u00e9t\u00e9 compos\u00e9e pendant l\u2019hiver 1894 et repr\u00e9sente la derni\u00e8re \u0153uvre am\u00e9ricaine du compositeur tch\u00e8que. Elle refl\u00e8te la nostalgie de Dvo\u0159\u00e1k, s\u00e9par\u00e9 de sa patrie depuis trois ans, et l\u2019\u00e9nergie vibrante de son esprit cr\u00e9atif.<\/p>


<\/p>\n

Le premier mouvement, Allegro<\/em>, est tr\u00e8s inspir\u00e9 de la Quatri\u00e8me Symphonie<\/em> de Brahms. Julia Hagen a d\u00e9montr\u00e9 une dext\u00e9rit\u00e9 impressionnante et un engagement total, en apportant de magnifiques couleurs sombres aux bois. La musique respire, passant du sombre au jovial avec aisance, bien que l\u2019orchestre, malgr\u00e9 une ex\u00e9cution techniquement impeccable, manqu\u00e2t parfois de vivacit\u00e9, apparaissant un peu neutre. Il est int\u00e9ressant de noter que ce concerto a pu donner l\u2019impression d\u2019\u00eatre davantage une symphonie concertante qu\u2019un v\u00e9ritable concerto. Tout le monde s\u2019\u00e9coute, on appr\u00e9cie les cuivres et les cordes, mais l\u2019orchestre est rest\u00e9 parfois en retrait. Dans cette vision, les trois mouvements ont paru tr\u00e8s autobiographiques, \u00e9voquant \u00e0 la fois la Boh\u00e8me natale et l\u2019Am\u00e9rique, comme un th\u00e8me et variations autour de la vie de Dvo\u0159\u00e1k et de sa Neuvi\u00e8me Symphonie<\/em>.<\/p>\n

Le deuxi\u00e8me mouvement, Adagio ma non troppo<\/em>, introduit un trio de bois \u2013 hautbois, clarinette, basson \u2013 avec un th\u00e8me mi-populaire, mi-religieux. Ce mouvement, m\u00e9lange poignant de plainte et de marche fun\u00e8bre, dans un climat o\u00f9 majest\u00e9 et pi\u00e9t\u00e9 se rencontrent, a permis le d\u00e9ploiement de la musicalit\u00e9 de Julia Hagen, avec une grande ampleur et des moments \u00e9mouvants. Elle est engag\u00e9e, techniquement irr\u00e9prochable.  Petr Popelka s\u2019est montr\u00e9 tr\u00e8s attentif et soigneux, avec une technicit\u00e9 admirable. Le troisi\u00e8me mouvement, Allegro moderato<\/em>, est caract\u00e9ris\u00e9 par un rythme de marche et une virtuosit\u00e9 de la partie soliste qui s\u2019intensifie notamment dans les traits en triolets de doubles croches. Un tutti<\/em> s\u2019ensuit, avec un th\u00e8me principal r\u00e9sonnant comme une fanfare de cordes, et un crescendo<\/em> qui conclut l\u2019\u0153uvre dans un puissant \u00e9clat orchestral. Malheureusement, cet \u00e9clat final n\u2019a pas \u00e9t\u00e9 suffisamment triomphal dans l\u2019interpr\u00e9tation de ce soir. Il y manquait une certaine flamme et un sens des contrastes dans les couleurs.<\/p>\n

En bis, Julia Hagen, rejointe par l\u2019une de ses comparses d\u2019\u00e9tudes \u00e0 Vienne, Paula Zarzo, violoniste de talent, interpr\u00e8tent Lullaby<\/em> , de la compositrice Rebecca Clarke. Un beau moment de douceur et de complicit\u00e9 entre les deux musiciennes.<\/p>


<\/p>\n

La deuxi\u00e8me partie du concert a \u00e9t\u00e9 consacr\u00e9e \u00e0 deux po\u00e8mes symphoniques de Richard Strauss, avec une interpr\u00e9tation de Till l\u2019Esp\u00e8gle<\/em> et de Don Juan<\/em>. Bien que l\u2019ex\u00e9cution ait \u00e9t\u00e9 aussi techniquement irr\u00e9prochable, elle manquait de profondeur et de relief. Le chef Petr Popelka, aux faux airs d\u2019Andris Nelsons, n\u2019a pas r\u00e9ussi \u00e0 faire d\u00e9coller la pi\u00e8ce. L\u2019orchestre, bien que de tr\u00e8s bon niveau, a manqu\u00e9 de couleur et de contraste. Certaines sections, notamment les bois, ont offert de beaux moments po\u00e9tiques, mais l\u2019ensemble est rest\u00e9 lin\u00e9aire et univoque, parfois bruyant, manquant de la vivacit\u00e9 et de l\u2019espi\u00e8glerie caract\u00e9ristiques de Till l’Espi\u00e8gle<\/em>. \u00c0 plusieurs reprises, la musique est devenue bruyante sans pour autant offrir les nuances n\u00e9cessaires. Comme le disait Debussy, Till l\u2019Espi\u00e8gle<\/em> est \u00ab\u00a0une heure de musique nouvelle chez les fous\u00a0\u00bb, mais ce soir, l\u2019\u0153uvre est rest\u00e9e trop s\u00e9rieuse, loin de la l\u00e9g\u00e8ret\u00e9 et de l\u2019humour qu\u2019elle \u00e9tait cens\u00e9e susciter.<\/p>


<\/p>\n

Don Juan<\/em> a permis de saluer les remarquables cors de l\u2019orchestre. Strauss avait 24 ans lorsqu\u2019il a compos\u00e9 cette \u0153uvre, devenue un pilier du r\u00e9pertoire symphonique. Inspir\u00e9 par Lenau, ce po\u00e8me symphonique explore les th\u00e8mes du d\u00e9sir, de la possession et du d\u00e9sespoir. Normalement, Don Juan est un h\u00e9ros violent, passionn\u00e9 et jouisseur, en qu\u00eate d\u2019un id\u00e9al inaccessible. Conscient de la vanit\u00e9 de la conqu\u00eate, il devient amer et d\u00e9sabus\u00e9. Don Juan<\/em> est cens\u00e9e \u00eatre une \u0153uvre brillante et \u00e9pique, remplie de pulsions et d\u2019assouvissements, avec des contrastes dynamiques, des accentuations rythmiques et des couleurs vibrantes. Malheureusement, l\u2019interpr\u00e9tation de ce soir n\u2019a pas totalement convaincu. Malgr\u00e9 les efforts de Popelka, l\u2019\u0153uvre est rest\u00e9e lin\u00e9aire, les transitions manquant parfois de fluidit\u00e9 et de contrastes de dynamique. Les moments po\u00e9tiques offerts par les bois \u00e9taient beaux mais n\u2019ont pas suffi \u00e0 maintenir l\u2019int\u00e9r\u00eat tout au long de l\u2019\u0153uvre.<\/p>


<\/p>\n

Si vous voulez vibrer avec un Don Juan<\/em> idiomatique gorg\u00e9 de s\u00e8ve et de fougue primesauti\u00e8re, courez vous procurer l\u2019enregistrement fameux de Kempe avec la Staatskapelle de Dresde !<\/p>


<\/p>\n

La soir\u00e9e s\u2019est conclue avec des bis g\u00e9n\u00e9reux qui ont transport\u00e9 l\u2019auditoire dans l\u2019ambiance festive d\u2019un concert du Nouvel An, avec deux pi\u00e8ces de Johann Strauss : Fr\u00fchlingsstimmen<\/em> et Unter Donner und Blitz<\/em>. C\u2019\u00e9tait de loin la meilleure partie de la soir\u00e9e. Les pi\u00e8ces, sans surcharge, ont \u00e9t\u00e9 jou\u00e9es avec une \u00e9l\u00e9gance et un esprit tout \u00e0 fait dans la tradition de Johann Strauss. Les Wiener Symphoniker ont montr\u00e9 ici un naturel et une animation qui manquaient dans les \u0153uvres de Dvo\u0159\u00e1k et Richard Strauss. C\u2019est un r\u00e9pertoire qu\u2019ils connaissent par c\u0153ur, et qui permet au chef de mettre en avant les qualit\u00e9s de cet orchestre.  Les performances \u00e9taient virtuoses, color\u00e9es et anim\u00e9es. Le public ne s\u2019y est pas tromp\u00e9, r\u00e9servant des applaudissements nourris. Les visages \u00e9taient ravis.<\/p>\n

Ainsi, malgr\u00e9 une soir\u00e9e riche en talents et en moments musicaux, l\u2019ensemble est rest\u00e9 en demi-teinte, offrant une prestation techniquement solide mais manquant parfois de la vivacit\u00e9 contrast\u00e9e et espi\u00e8gle de Strauss. Les bis viennois ont, heureusement, apport\u00e9 une conclusion festive et anim\u00e9e, rappelant le c\u0153ur de r\u00e9pertoire de cet autre orchestre de la capitale autrichienne.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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ENCOUNTERS AT THE EDGE OF THE NORTH – SIBELIUS FESTIVAL 2025 LAHTI<\/a><\/h3><\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
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LUCERNE FESTIVAL ORCHESTRA – BOULEZ \/ MAHLER – RICCARDO CHAILLY : MIRROR OF THE WORLDS<\/a><\/h3><\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\tPierre Boulez (1925-2016) \u00a9 DR Under the baton of Riccardo Chailly, the opening concert of the 2025...\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t
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LUCERNE FESTIVAL ORCHESTRA – BOULEZ \/ MAHLER – RICCARDO CHAILLY : LE MIROIR DES MONDES<\/a><\/h3><\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\tPierre Boulez (1925-2016) \u00a9 DR Sous la baguette de Riccardo Chailly, le concert d\u2019ouverture du...\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t
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Inscrivez-vous \u00e0 notre newsletter et tenez vous inform\u00e9 des derni\u00e8res actualit\u00e9s classique : concerts, sortie d'albums, interviews exclusives... <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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    Gen\u00e8ve \u00e0 l’heure viennoise Un beau concert, sans accrocs, un bis g\u00e9n\u00e9reux, mais un Dvo\u0159\u00e1k et un Strauss un rien routiniers. Cr\u00e9dits photographiques :\u00a0 Peter Rigaud pour l’orchestre (\u00e0 gauche) Julia Wesely pour Julia Hagen (\u00e0 droite) Date et lieu : 27 mai 2024, Victoria Hall de Gen\u00e8veChef d\u2019orchestre : Petr PopelkaVioloncelle : Julia Hagen […]<\/p>\n","protected":false},"author":3,"featured_media":2610,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center 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