{"id":3303,"date":"2025-03-11T19:34:06","date_gmt":"2025-03-11T18:34:06","guid":{"rendered":"https:\/\/pulsations.art\/?p=3303"},"modified":"2025-06-23T16:56:07","modified_gmt":"2025-06-23T14:56:07","slug":"orchestre-symphonique-de-la-radio-bavaroise-mendelssohn-mahler-daniel-harding-une-soiree-tout-en-contrastes","status":"publish","type":"post","link":"https:\/\/pulsations.art\/en\/orchestre-symphonique-de-la-radio-bavaroise-mendelssohn-mahler-daniel-harding-une-soiree-tout-en-contrastes\/","title":{"rendered":"ORCHESTRE SYMPHONIQUE DE LA RADIO BAVAROISE \/ MENDELSSOHN-MAHLER \/ DANIEL HARDING : UNE SOIR\u00c9E TOUT EN CONTRASTES"},"content":{"rendered":"
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Fleur Barron (mezzo-soprano), Andrew Staples (t\u00e9nor) et Daniel Harding dirigeant Le Chant de la Terre de Mahler. (\u00a9 BR\/Astrid Ackermann)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Deux \u0153uvres que tout oppose, entre ferveur protestante et m\u00e9lancolie mahl\u00e9rienne. Sous la direction pr\u00e9cise de Daniel Harding, l\u2019Orchestre Symphonique de la Radio Bavaroise offre une soir\u00e9e en clair-obscur.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\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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Munich \u2013 Herkulessaal \u2013 7 mars 2025<\/p>

Felix Mendelssohn : Symphonie n\u00b05<\/em> \u00ab R\u00e9formation \u00bb, Op. 107
Gustav Mahler : Le Chant de la Terre<\/em> (Das Lied von der Erde<\/em>), symphonie pour t\u00e9nor, alto (ou mezzo-soprano) et orchestre, compos\u00e9e en 1908-1909<\/p>

Fleur Barron (mezzo-soprano)
Andrew Staples (t\u00e9nor)
Orchestre Symphonique de la Radio Bavaroise
Direction : Daniel Harding<\/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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La fameuse Herkulessaal a accueilli une soir\u00e9e de contraste entre deux visions musicales : d\u2019un c\u00f4t\u00e9, Mendelssohn et sa Symphonie \u00ab R\u00e9formation \u00bb, ancr\u00e9e dans l\u2019\u00e9lan protestant et l\u2019h\u00e9ritage de Bach. De l\u2019autre, Mahler et son Chant de la Terre<\/em>, o\u00f9 la m\u00e9lancolie et l\u2019acceptation de la finitude se d\u00e9ploient dans une orchestration d\u2019une richesse infinie.\u00a0 L\u00e0 o\u00f9 Mendelssohn a b\u00e9n\u00e9fici\u00e9 d\u2019une interpr\u00e9tation lumineuse et structur\u00e9e, Mahler a suscit\u00e9 davantage de d\u00e9bats, notamment sur la direction et la performance vocale des solistes.<\/span><\/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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Mendelssohn \u2013 Une symphonie de ferveur et de clart\u00e9 architecturale<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Mendelssohn compose sa <\/span>Symphonie \u00ab R\u00e9formation \u00bb<\/span> en 1830 pour c\u00e9l\u00e9brer le 300e anniversaire de la Confession d\u2019Augsbourg, \u00e9v\u00e9nement fondateur du protestantisme. Pourtant, il ne la verra jamais publi\u00e9e de son vivant, la jugeant imparfaite. Aujourd\u2019hui, elle s\u2019impose comme une \u0153uvre singuli\u00e8re o\u00f9 se m\u00ealent ferveur religieuse, h\u00e9ritage de Bach et \u00e9lans romantiques.<\/span><\/p>

D\u00e8s les premi\u00e8res mesures, Daniel Harding impose une solennit\u00e9 et une grandeur ind\u00e9niables. Le premier mouvement, v\u00e9ritable hommage au style choral luth\u00e9rien, s\u2019ouvre avec une gravit\u00e9 majestueuse. Les contrebasses et les violoncelles posent un climat d\u2019attente, avant que l\u2019<\/span>Amen de Dresde<\/span> ne surgisse \u00e0 plusieurs reprises, rappelant son r\u00f4le de motif sacr\u00e9 que Wagner reprendra plus tard dans <\/span>Parsifal<\/span><\/em> comme leitmotiv<\/em> du Graal. Harding sculpte chaque entr\u00e9e avec une lisibilit\u00e9 exemplaire, laissant respirer l\u2019orchestre sans jamais alourdir la structure.<\/span><\/p>

Le deuxi\u00e8me mouvement surprend par son caract\u00e8re vif et dansant. Pris dans un tempo all\u00e8gre, il s\u2019apparente presque \u00e0 un <\/span>L\u00e4ndler<\/span><\/em>, cette danse populaire autrichienne que Bruckner int\u00e9grera dans plusieurs de ses symphonies. Ce caract\u00e8re sautillant, marqu\u00e9 par des accents rythmiques bien d\u00e9finis et une articulation l\u00e9g\u00e8re des cordes, conf\u00e8re \u00e0 la musique une insouciance inattendue. Les bois, en particulier les fl\u00fbtes, apportent une touche de fra\u00eecheur qui \u00e9voque Beethoven. Harding fait preuve ici d\u2019une souplesse remarquable, donnant \u00e0 cette section un dynamisme naturel et une fluidit\u00e9 qui maintient l\u2019\u00e9quilibre entre \u00e9l\u00e9gance classique et vitalit\u00e9 rythmique.<\/span><\/p>

Le troisi\u00e8me mouvement, plus introspectif, conserve une simplicit\u00e9 \u00e9l\u00e9gante. Le chant des cordes s\u2019\u00e9l\u00e8ve avec une expressivit\u00e9 contenue, en \u00e9vitant tout exc\u00e8s de pathos.<\/span><\/p>

Enfin, le finale d\u00e9ploie une polyphonie d\u2019une rare noblesse. Fond\u00e9 sur le choral de Luther <\/span>Ein feste Burg ist unser Gott<\/span><\/em>, il impose une architecture grandiose que Harding magnifie par une gestion subtile des dynamiques. On y per\u00e7oit une ampleur qui, par instants, semble annoncer les grandes fresques symphoniques d\u2019Elgar. Le contrepoint se construit avec une clart\u00e9 quasi bachienne, et la puissance orchestrale se d\u00e9ploie sans jamais verser dans l\u2019emphase.<\/span><\/p>

L\u2019interpr\u00e9tation propos\u00e9e par Harding et l\u2019Orchestre Symphonique de la Radio Bavaroise est d\u2019une rigueur et d\u2019une luminosit\u00e9 impressionnantes. Ce <\/span>Mendelssohn r\u00e9formateur<\/span> se r\u00e9v\u00e8le ici sous son meilleur jour : structur\u00e9, solennel, mais jamais pesant, avec une fluidit\u00e9 qui en exalte toute la profondeur spirituelle.<\/span><\/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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Le Chant de la Terre : une trop belle splendeur orchestrale ?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Fleur Barron dans Le Chant de la Terre (\u00a9 BR\/Astrid Ackermann)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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L\u2019Orchestre Symphonique de la Radio Bavaroise revient en seconde partie dans une formation plus imposante pour <\/span>Le Chant de la Terre<\/span><\/em>, cette \u0153uvre cr\u00e9pusculaire, \u00e0 mi-chemin entre la symphonie et le cycle de lieder<\/em>, dans laquelle Mahler m\u00eale grandeur orchestrale et int\u00e9riorit\u00e9 inqui\u00e8te et r\u00e9sign\u00e9e. Comme on pouvait s\u2019y attendre d\u2019une telle phalange, le niveau instrumental fr\u00f4le l\u2019exceptionnel. Les bois se distinguent particuli\u00e8rement : Lucas Spagnolo (fl\u00fbte) et Stefan Schilli (hautbois) apportent des couleurs subtiles et une articulation d\u2019une rare finesse. Le pupitre de cors, men\u00e9 par Pascal Deuber, impressionne par son assurance, tandis que la harpe de Magdalena Hoffmann distille des \u00e9clats de lumi\u00e8re d\u2019une limpidit\u00e9 envo\u00fbtante. Harding, qui consid\u00e8re Mahler comme un compositeur dont \u00ab l\u2019orchestre pense et respire comme un organisme vivant \u00bb, soigne chaque texture, chaque inflexion, mettant en relief l\u2019\u00e9clat et la transparence de l\u2019\u00e9criture mahl\u00e9rienne.<\/span><\/p>

Mais si l\u2019orchestre se hisse \u00e0 des sommets, le volet vocal se r\u00e9v\u00e8le plus probl\u00e9matique.<\/span><\/p>

Andrew Staples se confronte \u00e0 la partie de t\u00e9nor, l\u2019une des plus ingrates du r\u00e9pertoire, o\u00f9 la tessiture tendue et l\u2019orchestration dense laissent peu de r\u00e9pit. <\/span>Das Trinklied vom Jammer der Erde<\/span><\/em>, qui exige une projection puissante et une endurance hors norme, le met imm\u00e9diatement \u00e0 l\u2019\u00e9preuve. Son engagement est ind\u00e9niable, mais le timbre manque de mordant, et l\u2019\u00e9mission parfois contrainte prive certaines phrases du legato<\/em> n\u00e9cessaire. Harding, en maintenant une dynamique ample et un orchestre foisonnant, ne lui facilite pas la t\u00e2che, et l\u2019on aurait souhait\u00e9 un \u00e9quilibre plus favorable au chant.<\/span><\/p>

Dans <\/span>Der Einsame im Herbst<\/span><\/em>, Fleur Barron impose une voix aux graves profonds et \u00e0 la texture velout\u00e9e, qui n’est pas sans rappeler parfois les <\/span>Kindertotenlieder<\/span><\/em>. Harding s’empare ici des moindres fr\u00e9missements harmoniques, tout en mettant en valeur cette atmosph\u00e8re de d\u00e9solation latente, quand le froid de l\u2019automne n\u2019est que le reflet de l\u2019\u00e9puisement de l\u2019\u00e2me… L\u2019intelligence du texte est manifeste, mais Barron dramatise chaque mot avec une intensit\u00e9 qui, sur la dur\u00e9e, peut sembler trop appuy\u00e9e. Ce surinvestissement expressif, au lieu de magnifier la m\u00e9lancolie du po\u00e8me, tend parfois \u00e0 en alt\u00e9rer la fluidit\u00e9 naturelle.<\/span><\/p>

Le troisi\u00e8me mouvement, <\/span>Von der Jugend<\/span><\/em>, est un bijou d\u2019orf\u00e8vrerie instrumentale dans lequel Mahler joue sur une instrumentation l\u00e9g\u00e8re et un contrepoint quasi pointilliste. L\u2019orchestre excelle ici dans une lecture d\u2019une transparence exemplaire. Pourtant, Staples peine \u00e0 restituer l\u2019ironie sous-jacente du texte, qui appelle un certain d\u00e9tachement, une souplesse qu\u2019il ne parvient pas toujours \u00e0 trouver.<\/span><\/p>

Dans <\/span>Von der Sch\u00f6nheit<\/span><\/em>, l\u2019orchestre retrouve un \u00e9clat pictural, magnifi\u00e9 par un solo de violon particuli\u00e8rement expressif et des cordes d\u2019une acuit\u00e9 remarquable. Harding dose subtilement les contrastes rythmiques et dynamiques, en insufflant une \u00e9nergie cin\u00e9tique qui donne \u00e0 cette \u00e9vocation sensuelle une dimension presque cin\u00e9matographique.<\/span><\/p>

Le cinqui\u00e8me mouvement, <\/span>Der Trunkene im Fr\u00fchling<\/span><\/em>, marque la derni\u00e8re intervention du t\u00e9nor. Malheureusement, Staples ne parvient pas \u00e0 transcender cette ultime apparition, qui aurait n\u00e9cessit\u00e9 un sens du phras\u00e9 plus affirm\u00e9 et un engagement plus visc\u00e9ral. La concurrence discographique est certainement fatale…<\/span><\/p>

Puis vient <\/span>Der Abschied<\/span><\/em>, sommet m\u00e9taphysique de l\u2019\u0153uvre. Harding se montre ici particuli\u00e8rement inspir\u00e9, tant il parvient \u00e0 sculpter les inflexions rythmiques avec une pr\u00e9cision chirurgicale, en r\u00e9v\u00e9lant les subtiles arythmies qui font battre cette musique comme un c\u0153ur irr\u00e9gulier. L\u2019ouverture, port\u00e9e par le hautbois, poss\u00e8de une \u00e9tranget\u00e9 poignante qui \u00e9voque l\u2019errance du p\u00e2tre de <\/span>Tristan und Isolde<\/span><\/em>. Le paysage sonore se d\u00e9ploie avec une ampleur saisissante, entre r\u00e9signation et aspiration \u00e0 l\u2019\u00e9ternit\u00e9.<\/span><\/p>

Cependant, pour sublime qu\u2019elle soit, la direction d\u2019Harding semble par moments trop d\u00e9taill\u00e9e, trop attentive \u00e0 chaque sforzando<\/em>, chaque accentuation. Cette pr\u00e9cision analytique, si pr\u00e9cieuse dans d\u2019autres r\u00e9pertoires, aurait gagn\u00e9 ici \u00e0 plus de souplesse, \u00e0 un laisser-aller qui aurait permis \u00e0 la musique de respirer davantage. Fleur Barron, quant \u00e0 elle, livre une performance techniquement irr\u00e9prochable, mais qui peine \u00e0 atteindre cette dimension d\u2019abandon absolu, ce flottement hors du temps qui fait la grandeur de ce final. Et au lieu d’assister au d\u00e9litement v\u00e9n\u00e9neux d’une \u00e9ternit\u00e9 de lumi\u00e8re obscure, l’auditeur se surprend \u00e0 regarder sa montre…<\/span><\/p>

Daniel Harding, qui a appris une grande partie de son Mahler aupr\u00e8s de Claudio Abbado, en retient l\u2019exigence de clart\u00e9 orchestrale et le souci d\u2019un son toujours vivant, jamais fig\u00e9. Pourtant, ce <\/span>Chant de la Terre<\/span><\/em> semble encore perfectible dans sa vision. La splendeur de l\u2019orchestre est indiscutable, la rigueur du chef impressionnante, mais l\u2019\u00e9motion brute, celle qui saisit l\u2019auditeur au plus profond, n\u2019\u00e9merge pas encore pleinement. Peut-\u00eatre Harding trouvera-t-il, dans de futures interpr\u00e9tations, un \u00e9quilibre plus naturel entre contr\u00f4le et abandon, entre transparence et lyrisme pur.<\/span><\/p>

Au total, donc, une ex\u00e9cution magistrale d\u2019un point de vue orchestral, mais l\u2019alchimie entre direction, orchestre et solistes reste \u00e0 affiner pour atteindre la pleine dimension existentielle de l\u2019\u0153uvre.<\/span><\/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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\n\t\t\t\t\t\t\t\tGenesis of Mahler\u2019s Ninth in Toblach, at the heart of the Dolomites At the Lucerne Festival, Kirill...\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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ORCHESTRE PHILHARMONIQUE DE BERLIN, MAHLER, KIRILL PETRENKO, FESTIVAL DE LUCERNE 2025<\/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\tGen\u00e8se de la 9e de Mahler au coeur des Dolomites Au Festival de Lucerne, Kirill Petrenko et le...\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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A LA LISI\u00c8RE DES MONDES : LE FESTIVAL SIBELIUS DE LAHTI 2025<\/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\tLa maison o\u00f9 Sibelius composa \u00ab\u00a0Kullervo\u00a0\u00bb \u00e0 Loviisa Quelque chose a vibr\u00e9, doucement, sur les rives...\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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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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\n\t\t\t\t\t\t\t\tStatue of Sibelius, Loviisa, Finland The 2025 Sibelius Festival in Lahti unfolded as a triptych...\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 : 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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\n\t\t\t\t\tRead the review<\/a>\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n <\/div>\n\n\t\t\t <\/div>\n\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\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Fleur Barron (mezzo-soprano), Andrew Staples (t\u00e9nor) et Daniel Harding dirigeant Le Chant de la Terre de Mahler. (\u00a9 BR\/Astrid Ackermann) Deux \u0153uvres que tout oppose, entre ferveur protestante et m\u00e9lancolie mahl\u00e9rienne. Sous la direction pr\u00e9cise de Daniel Harding, l\u2019Orchestre Symphonique de la Radio Bavaroise offre une soir\u00e9e en clair-obscur. Munich \u2013 Herkulessaal \u2013 7 mars […]<\/p>\n","protected":false},"author":3,"featured_media":3281,"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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href=\"https:\/\/pulsations.art\/en\/category\/concerts-classiques\/\" rel=\"category tag\">Concerts classiques<\/a>","rttpg_excerpt":"Fleur Barron (mezzo-soprano), Andrew Staples (t\u00e9nor) et Daniel Harding dirigeant Le Chant de la Terre de Mahler. (\u00a9 BR\/Astrid Ackermann) Deux \u0153uvres que tout oppose, entre ferveur protestante et m\u00e9lancolie mahl\u00e9rienne. Sous la direction pr\u00e9cise de Daniel Harding, l\u2019Orchestre Symphonique de la Radio Bavaroise offre une soir\u00e9e en clair-obscur. 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