May 14 at the Cité de la Musique, a rare representation of Troqueurs Dauvergne by soloists of the Academy Baroque Ambronay (it seems that I am a regular now, since this super Carnival friendly and Madness Destouches the Comic Opera).
two parts: first, only a piece of orchestral Dauvergne, the concert has Simphonies IV parts, lumber III No. 2 in F major (to be precise), excerpts from books published in 1751. This symphony is played in a chamber, the small detachment headed Ambronay by the first violin (Juliette Roumailhac, probably, if I am the program), although the program indicates a direction of Serge Saitta (yes, the invisible man in person). To be honest with this music, it should be noted that it is written at a time when the symphonic genre has not really emerged as such. Even
chamber and nervous, orchestral music Dauvergne is, uh, well, it's orchestral music Dauvergne what. Not unpleasant, it is reminiscent of Rameau soft and generates a haunting feeling of drowsiness conducive to daydreaming (yes, that is, I'll say that). Twenty minutes are going well. As the concert goes on in the pleasant small amphitheater of the city of music, luckily there is a kind of intimacy that passes between you and empathize with the musicians in this incredible sound accuracy.
In this opera pocket, then come the singers Andrea Puja Annastina Malm, Benjamin Alunni, Marcos Garcia Gutierrez for Troqueurs.
Antoine Dauvergne, who led the Paris Opera and has written several lyrical tragedies, is best known for Troqueurs presented as a comic opera from a fairy libertine Jean de la Fontaine. Why the importance of this opera in the work of Dauvergne?
Because it is a pastiche, written at the end of the quarrel of the buffoons (created in July 1753). Supporters of the French opera led by Jean Philippe Rameau (corner of King), seen as conservatives, have battled supporters of Italianization any music as a natural thing with Jean-Jacques Rousseau (corner of Queen) perceived as progressive.
The director of the Komische Oper, Jean Monnet wants to make a joke and make people believe that the Italian composer of Vienna (Opera has an Italian international image while the lyric tragedy seems closely hex) composed an opera-style comic libretto by Jean-Joseph Vade, inspired by La Fontaine. The purpose of this joke is also italianize French music, but he knows that if this immediately as the French Opera, supporters of Italian opera will refuse to listen, as the quarrel s' is poisoned by this date.
The room had a huge success, and fans of Italian buffoons were furious to learn that the author was very French director of the Opera, and probably a pupil of Rameau, Antoine Dauvergne. But the success of the play continued, so much so that in September 1753 must be removed from the poster for success too ...
The booklet is very nice, the story of two lovers who change their fiancees, which agree in gasping, then everyone is sorry and re-exchange. At the end, everyone is happy. The subject is sweetened with respect to La Fontaine, in which couples are married.
Musically, it's pretty amazing, a mixture of Italian and vocal style of French orchestral music, you wonder how the supporters of the clowns were able to so easily fooled. It's very rich, very alive, he spends a lot of things on the side of voices and harmonies (much more than in the book) and it's exciting to hear as a milestone in the French comic opera whose vocal style will change dramatically under the impetus of these Troqueurs. A big thank you to the City of Music and Ambronnay. There must have been some cuts (at least the ballet) in this version of 45 minutes but was played with such enthusiasm and such a faith that any reluctance is taken away (again, the level of young singers is proposed Ambronnay as in the Carnival and Madness, amazing). There was no stage but a beautiful full directing actors.
Really pleased with this discovery!
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