Jean Cocteau sur la musique

The ear, though it may disapprove, still tolerates certain musical pieces which if transferred to the domain of the nose would force us to flee.
Jean Cocteau

Malcom Frager sur les performances inoubliables

If you think back on a performance that has really stood out to you over the years, you may not even remember the specific sounds, but you remember the mood that was created, the turn of phrase, the momentary vision that became clear to you at that instant.
Malcolm Frager

Michel Plasson : « La magie de la musique française est plus fragile que toute autre »

La magie de la musique française est plus fragile que toute autre selon Michel Plason

C’est d’abord une prononciation très spéciale, car au-delà du simple phrasé, la langue française est plus cérébrale que sonore, le sens des mots fait donc plus qu’ailleurs partie de la musique. La langue française ajoute une difficulté au chant au lieu de le faciliter : l’italien, le russe ou l’allemand avec leurs accents toniques invariables sont plus naturellement chantants, tandis que l’absence d’accents toniques fixes pour le français est comme un rébus, une partition non écrite, c’est déjà ce que Romain Rolland expliquait à Strauss.


Felice Romani au sujet de Bellini

Of the many tributes which poured forth following Bellini’s death, one stands out. It was written by Felice Romani and published in Turin on 1 October 1835. In it, he states:

…Perhaps no composers other than ours, know as well as Bellini the necessity for a close union of music with poetry, dramatic truth, the language of emotions, the proof of expression.
and he concludes: « I sweated for fifteen years to find a Bellini! A single day took him from me! »

Ténor Michael Fabiano au Metropolitan Opera

The tenor is a tall, slim young man with the sort of brooding good looks you’d expect to see in one of the Corleone sons. His voice has a curious “arresting” quality, a sort of primal cry of pleasure and pain. He tempers this volcanic timbre, though, with elegant phrasing and sensitive dynamics. The opening phrases of his first aria, “Che gelida manina,” he sang in a honeyed mezza voce, almost shyly. Step by step, the voice blossomed with rich vibrato up to a long, electrifying high C.

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James Levine au sujet de Tatiana Troyanos

 En 1994, le  Metropolitan Opera a effectué un concert à la mémoire de  Troyanos; dans son éloge, le Music Director James Levine écrit,


«The idea that we are gathered here … to pay memorial tribute to Tatiana Troyanos is incomprehensible. What it means, of course, is that our Metropolitan Opera family has lost one of the most important, beloved artists and friends in its entire history.»


Antonio Pappano au sujet de «Manon Lescaut» de Puccini

Puccini sees echoes of Wagner in the music, a style that Puccini all but abandoned in his later works.pappano

Le composteur avait 34 ans au moment de la première en 1993.  L’orchestration est extraordinaire. L’oeuvre est sombre et teintée de prémonition et de tristesse qui sont palpables. De plus, sur le plan harmonique, l’oeuvre est plus complexe et aventureuse que dans ses dernières oeuvres.