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Levon Minassian SAMSON AND DELILAH

TRIBUTE TO Levon Minassian

Painful sweetness of duduk

Marseille, Theatre Toursky,

November 26, 2010

Warm evening in the heart of a winter advanced. Chaired by Jean-Claude Petit , composer, Toursky offered a friendly and warm tribute to Levon Minassian , duduk player , traditional Armenian musical instrument to which his talent has given a hearing, an indolence, I would say universal because this strange sort of flute or clarinet or oboe rustic, seems born to sing, cry more, the human suffering beyond cultural and geographical boundaries.

Tire does the apricot tree which is the form its fruity sweetness and warm amber color, size of the reed which is the double reed murmur its source, the nine holes that pierce the breath of wind in the leaves? Still, this archaic instrument to earth tree roots, wood, material, water and wind sounds elementary, that is to say, born of the four elements, which perhaps lend the full sound as moving old and still a voice newly touching whispering deep within us.

Born in Marseille, Levon Minassian is unearthed by Jean-Claude Petit , author of tubes already musical, often award-winning film scores, went looking This kind of magic flute on the advice of director Henri Verneuil , who gave him the music of his autobiographical film Mayrig , with Claudia Cardinale and Omar Sharif, intimate epic of an Armenian family fled to Marseille after the genocidal massacres of 1915. The composer met the musician, drinks at the source of these Armenian melodies, and there they met both on stage, Little piano, duduk Levon with his we replaying the nostalgic film credits during that terrible images Exile scrolls on the screen at the far end of the scene.

fruitful meeting: Levon, then takes off. He lends his talent to the instrument and music Peter Gabriel, Sting Charles Aznavour, Manu Kachté etc. . Doomed from the outset cinema since Mayrig he worked in the credits of major films , The Passion of the Christ of Mel Gibson , The Last Temptation of Christ of Martin Scorsese , Amen of Costa-Gavras , and this poetic and ecological Home of Yann Arthus-Bertrand . It is also Job creation or just wandering the with Michael Lonsdale and Richard Martin . In the absence of the first, held in Rome for a shoot, he said texts, poems, and found his passion flowing back, all the fervor of this artist vibrant output of humanity, love beasts than men and their great history and hate (the red sign of twenty-three young Armenians shot by the Nazis), men whose little romance withers or strengthens "over time" as he whispers in memory of his friend Ferré, start doing we in the fibers of the inevitable. An actor (not even mentioned by the producer ...) an actress, Kelly Martins say moving poems evoke memories of Armenia while the screen comes alive with its landscape (pictures Martin Mohr of and Jean-Luc Picowsky ) of the imposing and legendary Mount Ararat, where Noah's ark would have arisen after the flood, but more importantly, excerpts of movies where terrible Levon participation, and these long marches claims convoys deportations after the Armenians, Jews. As if the duduk , was doomed him to tell the human pain.

A group of musicians accompanies Levon: Pedro Aledo , English, guitar; Nicolas Mazmanian on piano (who has created the world premiere of a commissioned work by Opera de Marseille), Jean-Pierre Nergarian , Kamatchi , another Armenian folk instrument, kind of small rebec, fiddle long bow. On large sheets of horizontal synth Serge Arribas , perhaps too much for these synthetic natural ancestral instruments, the duduk winds like a brook, traces a long line, a plain, a complaint of endless steppes that would, after the mountains, undulations, waves of sobs of a wide vibrato. This is the long winding river of a timeless longing for the source nestled in secret or patent of personal history or collective, who will lose slowly in a slow migration to the sea hemorrhage distant exile.

Bis final finally changing rhythm and color, like a cheerful goodbye after the dive into nostalgia and pain.

Toursky Theatre, November 27, 2010:

The murmur of the wind or variations of the soul

Tribute to Levon Minassian

Director: Serge Sarkisian; light: Fabien Massard; sound: Jean Denis Robert; Pictures: Martin Mohr, Jean-Luc Picowsky; Levon Minassian: duduk ; Pedro Aledo, guitar; Nicolas Mazmanian, piano; Serge Arribas, keyboard, Jean-Pierre Nergarian, Kamatchi ;

Richard Martin Kelly Martins, actors .

The Blog In The Perfect Man

SAMSON AND DELILAH

Libretto by Ferdinand Lemaire , music by Camille Saint-Saens

Opera de Marseille, 23 November

Concert version

The work

In France labels we like: there was much discussion of this "biblical opera" to know if we should fall into the category oratorio or opera, which disturbed long, so long as the poor Saint-Saëns began nearly ten years (1868-1877) to finish both his attempts to make parties in France were failures. It will not be less than the support of two strong musical personalities, the great singer Pauline Viardot García , dedicatee of the work that pushes the composer to persevere, and Liszt , which helps triumph in Weimer in 1877. The ungrateful France will not host in 1890, and "good bill of Paris', which is a picky eater, only in 1892.

One quibble as both neo-classicism with reference to Gluck, and on the "Wagnerian" contradictory, Saint-Saens and the latter suspicion is already more accused, convicted, in a France which has just received a beating in his first historic Franco-German in preparation for others. But this music has run away (chorus), guns (Duet Delilah High Priest), uses leitmoitve , "reasonable drivers" that characterize the characters and their emotions, shows exactly that technical knowledge of the great composer, both historical and contemporary music in a well to him: a masterpiece.

The first act is probably the oratorio by a droop almost forced mass choirs, but not required with an excellent director. You have to admire his balance and overall geometry: opening chorus of lament of the Hebrew subject, concluding chorus of thanksgiving, through a tumultuous episode warrior, Samson's victory over the Philistines, and presentiment of defeat in love the winner with the arrival soothing girls dancing, and that, disturbingly, Dalila, and the hero torn between the exhortations of misogynistic old Hebrew legitimate and temptations of the flesh.

The last act as skillfully uses choral masses, but without repetition, in an intervention which is like a voice of conscience. On the second, with a monologue of Delilah and her two antagonistic duets, one with the high priest, the other with Samson, it is a dramatic beauty as great as the tavern scene between Carmen and Don Jose: Hebrew hero is stripped by the seductive woman of strength as the English soldier was snatched from his military life by Gypsy, with a fatal outcome for both.

interpretation

It is therefore regrettable staging, but the concert version, all the music, the view from the head to standing singers, instruments, abandoned all sense of the beauty of this score by turns grandiose and intimate, and so voluptuous: music does not put in the voice of a woman such a load of sensuality, loaded with nostalgia and hurt the first act, assumed and claimed, heady, captious, the second. Revenge of the woman as a cruel Merteuil Bible to the last. Saint-Saens, like his hero Samson was bound to love this woman and if she betrays the price is superb, which makes defeat a God, and in our hearts and ears.

From the first chords, like a curtain that opens on the ground haunting fugue, which will rise on the Hebrew prayer, sweet and torn, one is struck by the wave continues to this music without numbers that divide the speech into slices, which are linked with the air speed and natural in a sort of orchestral fade. The Orchestra and Chorus of the Opéra de Marseille on the same plane as the singers, are ignited by the direction of Emmanuel Vuillaume any finesse and geometry: the clean lines architecture are polished without rigidity, but the instrumental colors are not lost in the mass and gleaming, charming and attractive hearing in which the eye perceives the source from the player. The chief whip and caress the crescendi are cleverly arranged without falling into confusion and bacchanal of the last act takes the challenge of a disorder without chaos orgiastic cacophony but full of sensual madness.

The choirs are exemplarily prepared by Peter Iodice , their full involvement in music and in right frontal give them a beautiful cohesion.

Too short sentences of two Philistine and the messenger ( Jean-Jacques Doumène , Guy Gabelle and Wilfrid Tissot ) Do not have time to try and we regret the role too short Nicolas Tested in Abimelech, superb bass-baritone voice, bright, expressive, perfect diction. Wojtek Smilek by the dark color and width of his bass voice, gives depth, shivering misogynist Father Modesty, in Old Hebrew, under the convention that prepared the old men a deep voice while the man's voice rises like that of women falls with age. Of exceptional vigor and vitality, Philippe Rouillon , is a magnificent Grand Imprecatory priest, sharp and biting angry, full of dark serious declines in voice and soul into the diabolical duo of Da lila II. Sigmund remarkable an admirable Valkyrie in 2007, Torsten Kerl , Samson, was the victim of a chill. However, never heldentenor have better deserved the title of "heroic tenor" him as he gives the song without cheating as Dalila, n'escamotant no difficulty, even braving the Philistines as a steel sharp as a sword, just dull by disease, cold, barely perceptible in the heat of some piani scene of his wheel, full of sensitivity.

become since its theatrical debut as the holder of the role of Delilah, Olga Borodina , deploys, if its sails seductive, soaring voice of a beautiful fabric of sensual serious treble Seventh Heaven voluptuous, fleshy, powerful and delicate, also to aid in force only in the passages of agility and pianissimos that abound. Hardly can we regret more strength than tenderness in the end its air inlet. If the game is limited by the looks, we appreciate them as much as the voice and words exchanged with the high priest, mutual cruelties common to pique their venom against Samson in a temporary hell. We can not imagine Samson able to escape the toils of his enchanting and voluptuous "Answer my love ...". A few small slips around, admiring his French diction, but these r not rolled at the end of words to ensure the projection.

But we regret that we correct the exact phrase booklet air "Love, just help my weakness, "" The hour of vengeance that must meet at our gods, "the true meaning of 'do what you must report to someone or something to satisfy homework, to honor ', which means that Delilah admits religious duty by acting in addition to personal revenge, transformed in the platitude of "who must meet our gods, "as if the gods cared smallest point that a revenge duties they are owed.

Opera de Marseille, 17, 20, 23, 26 November 2010.

Samson and Delilah Camille Saint-Saens .

Orchestre de l'Opera de Marseille; Chorus Opera de Marseille (Peter Iodice), Music Director Emmanuel Villaume.

Distribution:

Olga Borodina: Dalila, Torsten Kerl, Samson, Philippe Rouillon: The High Priest of Dagon; Wojtek Smilek: An Old Hebrew Nicolas Tested: Abimelech; Wilfrid Tissot: The Philistine Messenger, Guy Gabelle: First Philisitin: Jean-Jacques Doumène; Second Philistine.

Photos: Christian Dresse .
1. Borodina, followed by Rouillon and Villaume;
2. Villaume, Borodina, Kerl and Smilek;
3. Villaume, Borodina, Kerl.