{"id":12286,"date":"2023-08-08T08:45:39","date_gmt":"2023-08-08T06:45:39","guid":{"rendered":"https:\/\/latelierdediablotin.fr\/WordPress3\/?p=12286"},"modified":"2023-08-08T08:45:39","modified_gmt":"2023-08-08T06:45:39","slug":"playlist-en-forme-de-songe-shakespearien","status":"publish","type":"post","link":"https:\/\/latelierdediablotin.fr\/WordPress3\/playlist-en-forme-de-songe-shakespearien\/","title":{"rendered":"Playlist en forme de songe shakespearien\u2026"},"content":{"rendered":"

Lorsque Shakespeare \u00e9crivit \u00ab\u00a0Le songe d\u2019une nuit d\u2019\u00e9t\u00e9\u00a0\u00bb, il ne se doutait sans doute pas qu\u2019il susciterait l\u2019int\u00e9r\u00eat de tant de musiciens, qui, \u00e0 des \u00e9poques diverse, de Purcell \u00e0 Britten, ont souhait\u00e9 mettre de la musique sur ces mots. Au demeurant, la pi\u00e8ce est si complexe que l\u2019exercice d\u2019en r\u00e9aliser des op\u00e9ras ou de musiques de sc\u00e8ne reste excessivement difficile\u2026 –Cliquer ici<\/strong><\/span><\/a> pour t\u00e9l\u00e9charger une version de la pi\u00e8ce en Anglais et ici<\/strong><\/span><\/a> pour une traduction fran\u00e7aise de la pi\u00e8ce<\/em>-.
\nLes trois transpositions musicales du jour sont donc diversement r\u00e9ussies –cliquer sur l\u2019image pour la voir en plus grand<\/em>-.<\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a>A mes oreilles, la plus g\u00e9niale proposition est celle d\u2019un gamin de 17 ans, qui a su merveilleusement rendre l\u2019esprit fac\u00e9tieux et l\u00e9ger de ce monde f\u00e9\u00e9rique : Felix<\/strong> Mendelssohn<\/strong>, dans son \u00ab\u00a0Ouverture pour le Songe d\u2019une nuit d\u2019\u00e9t\u00e9<\/strong>\u00a0\u00bb -1826- d\u00e9montre une virtuosit\u00e9 d\u2019\u00e9criture \u00e0 la fois pr\u00e9coce et t\u00e9moigne d\u2019une profonde compr\u00e9hension de la pi\u00e8ce : f\u00e9es, elfes et farfadets, braiement de l’\u00e2ne : tout un monde f\u00e9\u00e9rique est pr\u00e9sent –cf. extrait ci-dessous<\/em>– !
\nLa suite, compos\u00e9e bien plus tard, en 1842, est tr\u00e8s belle aussi –et tr\u00e8s c\u00e9l\u00e8bre puisque la marche nuptiale notamment, r\u00e9sonne encore fr\u00e9quemment, aujourd’hui, lors des mariages<\/em>– , mais d\u2019une moindre inspiration que l\u2019ouverture. La version de ce jour fait partie des tr\u00e8s bonnes versions de cette oeuvre.<\/p>\nhttps:\/\/latelierdediablotin.fr\/WordPress3\/wp-content\/uploads\/2023\/08\/Extrait08082023.mp3<\/a><\/audio>\n

\"\"<\/a>Avec \u00ab Oberon<\/strong> \u00bb, de Carl Maria von Weber<\/strong> –compositeur cousin par alliance de Mozart, qui trouvait Beethoven trop hardi dans ses compositions, inscrit dans courant du premier romantisme allemand\u00a0et que je connais assez mal<\/em>-, \u00e9crit quasiment au m\u00eame moment que l\u2019ouverture de Mendelssohn, on se situe dans un monde moins f\u00e9\u00e9rique, et l\u2019op\u00e9ra, dont j\u2019ai \u00e9cout\u00e9 une version allemande longtemps regard\u00e9e comme une r\u00e9f\u00e9rence –alors qu\u2019en fait, c\u2019est assez loin d\u2019\u00eatre le cas<\/em>– par un chef amoureux du compositeur, qui enregistra une version, \u00ab de r\u00e9f\u00e9rence \u00bb pour le coup, du Freisch\u00fctz, propose une adaptation de la pi\u00e8ce de Shakespeare assez \u00e9loign\u00e9e de l\u2019originale : seuls restent certains personnages, mais l\u2019argument est diff\u00e9rent et situ\u00e9 beaucoup plus tard dans le temps, \u00e0 l’\u00e9poque de Charlemagne. L’op\u00e9ra connut un tr\u00e8s grand succ\u00e8s lors de sa cr\u00e9ation, \u00e0 Londres, mais le compositeur n’en \u00e9tait pas satisfait et souhaitait le remanier, mais il mourut de tuberculose avant.<\/p>\n

\"\"<\/a>Enfin, l\u2019op\u00e9ra de Benjamin Britten<\/strong> est fid\u00e8le \u00e0 la pi\u00e8ce de Shakespeare dans son d\u00e9roulement, malgr\u00e9 des coupures, qui ne nuisent pas \u00e0 la compr\u00e9hension de l\u2019action –la pi\u00e8ce de Shakespeare est en 5 actes, l\u2019op\u00e9ra n\u2019en compte que 3 et certaines sc\u00e8nes ont \u00e9t\u00e9 fusionn\u00e9es<\/em>-. Curieusement, Puck est un r\u00f4le confi\u00e9 \u00e0 un r\u00e9citant, qui ne chante pas une seule note ! La version de ce jour jouit d’une tr\u00e8s bonne r\u00e9putation. Je n’en connais pas d’autre –en fait, je ne connais pas grand-chose non plus de Benjamin Britten, qui n’est pas toujours le compositeur le plus facile d’acc\u00e8s<\/em>-, et elle me satisfait amplement.<\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Lorsque Shakespeare \u00e9crivit \u00ab\u00a0Le songe d\u2019une nuit d\u2019\u00e9t\u00e9\u00a0\u00bb, il ne se doutait sans doute pas qu\u2019il susciterait l\u2019int\u00e9r\u00eat de tant de musiciens, qui, \u00e0 des \u00e9poques diverse, de Purcell \u00e0 Britten, ont souhait\u00e9 mettre de la musique sur ces mots. Au demeurant, la pi\u00e8ce est si complexe que l\u2019exercice d\u2019en r\u00e9aliser des op\u00e9ras ou de […]<\/p>\n","protected":false},"author":667,"featured_media":0,"comment_status":"open","ping_status":"open","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":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[5,4],"tags":[62,67],"class_list":["post-12286","post","type-post","status-publish","format-standard","hentry","category-lecture","category-musique","tag-mendelssohn","tag-opera"],"_links":{"self":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts\/12286","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/users\/667"}],"replies":[{"embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/comments?post=12286"}],"version-history":[{"count":0,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts\/12286\/revisions"}],"wp:attachment":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/media?parent=12286"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/categories?post=12286"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/tags?post=12286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}