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Version Française

Events 2017 / 2018

« Il était une fois la forêt»

"Once upon a time......in a forest"
Children's opera
New version

Libretto : Nathalie Sainati

 This children's opera was created in 1994 next to the "Etang de Berre : Bouches du Rhône" as part of a school-project  dealing with the destruction of Nature due to pollution.
More than twenty years later , this ecological tale is still  valid today and it justified this new version created by the CRI of St-Dizier in 2016.
Friends of the "Light-Tree "Ydragsil , the children , defending the Forest , face Tetracoblas, a destructive monster, born from the greed of unscrupulous property – developers and their unreasonable eagerness to build.
The Magician, Taramis will give Florestan all the necessary strength to defeat the Monster in a steel armour and will revive the Forest in the slow waltz of trees.

« Re-creation »

May / June 2018

 Conservatoires of Martigues, Aubagne, Carry le Rouet (Choirs)

Wind Quintet : "Le Concert Impromptu"
Stage- managers : Violaine Dufès and Yves Charpentier

 

Friday January, 13  2017- Chapelle de la Charité – Pertuis -

« Pan, maître de Lure»

 “Tryptique”for Jean Giono
Première
Trio for flautist  playing percussion
Narrator playing recorder
Cellist making sounds with objects

After the creation of "Comme des colombes sur l'épaule de la colline" (Like doves on the shoulder of the hill) , I wished to intensify my work to highlight the author from Provence, by referring to his "Trilogie de Pan":(Colline , Un de Baumugnes, Regain. ).
So , to enter more deeply the universe of Jean Giono , I have chosen to develop a composition focussing on the characters he portrayed :"Pan "(Présentation de Pan ), "Les Monicas" (Un de Baumugnes) and "Janet" (Colline) who is at the same time the narrator but also in the centre of a dramaturgy starring Nature in its beauty , magnanimity , wildness , cruelty...
Thinking of a a sonic landscape ,the melody of flute , cello , various objects , has to be simple as a narrative, using sounds reminding us of a pastoral universe thanks to a few  objects making sounds , played by the flautist , cellist or narrator. This is aimed at enhancing and supporting the text.
However, in the way of a "Cadenza" , the music has also to be violent just like dramaturgy.
Even if it is composed as a music for a trio , the link text / music is dealt with , but it leaves a great liberty , or more precisely , an autonomy, to the narrator.
The structure of some musical parts is left to the perspicacity and complicity of the trio flautist/ narrator / cellist so that they can set conditions of a common interpretation.

"Le 4 de septembre" (Présentation de Pan )
"Les Monicas" (Un de Baumugnes )
"Comme des colombes sur l'épaule de la colline " (Colline) 

Re-creation  2017 / 2018 :
Programmation : « saison 13 »
Conseil Départemental Bouches du Rhône.

 

February, 9  2017  / Bibliothèque Nucéra - Nice -

« Nessym, le souffle de la Méditerranée »

"Nessym,the Breath of the Mediterranean "
Raphaël Monticelli, narrator
Gérard Garcin, flûte(s)

"the Breath of the Mediterranean" is a biased choice.

Highlighting the Mediterranean Sea  litterally speaking but also , more generally , Mediterranean Culture , motivated this approach of Gérard Garcin ( as a flautist ).

To make meaning out of this Mediterranean mosaic , "The Word "  passed on via Literature and Poetry also seemed to me important and complementary.

This matching of Text /Music developped in "Nessym" has been mainly thought of, to be programmed in "Médiathéques"or be attached to their activities.

The programme of concerts proposes a double interlinking :

- traditional contemporary Tunisian music, or of a composer born in Alep , with a European musical creation; their only common point being their life around the Mediterranean.

- musical works from the XXth  and XXIst centuries with Literature and Poetry .

If the musical repertoire is entirely dedicated to the contemporary creation , the writers or poets chosen represent Mediterranean Culture from Antiquity to Present Time.

Non exhaustive list as an example

Texts and Poems after:  Mohammed Bennis, Cervantes, Nazym Hikmeth, Raphael Monticelli, Frederico Garcia Lorca, Homère, Yannis Ritsos, Amina Saïd, Sylvie Nève

Musical repertoire: Salah Mahdi, Maïté Erra, Alain Fourchotte, Georges Couropos, Joan Guinjoan, Goffredo Petrassi.

Re-creation of the programme Nessym :
season 2017 / 2018

 

Work in progress

« Montezuma à Venise ou le miroir des mondes »
a « uchronical »  opera

Opera based on the literary work by Alejo Carpentier «  Concert Baroque »
Libretto:Ricardo Montserrat

 Meeting  Ricardo Montserrat, writer and librettist, as much interested as I was  in this writer, led me to “ actually do it “ and to take into consideration a total “ re – reading” or even more a rearrangement.

When one reads the literary work of the Cuban writer whose knowledge of the European culture is flawless, one tends to say that the word “baroque“ is insufficient.

As well as the comical side of the story, the historical approach,  underlying but essential, the time-lags, backwards and forwards in time, are the basic facts generating a form very close to musical writing, in which life and death are “ leit-motiv” acting as a” time – factor”.

Project :

The search of a language using all the forms of a theatrical language from narrative to lyric singing in all its approaches.

--“Baroque “side : developed in the setting of an opera.

The musical arrangement giving support to the stage-acting played by “a l’ inglese “ instruments taught by Vivaldi at the “Ospedale de la Pieta,” in contrast with modern instruments, but reminding the Cuban and Latin-American culture, such as the bandoneon.

--Vocal casting : a voluntarily wide choice of types of voices.
 -Male voices for the parts of Montezuma, Haendel, Scarlatti.
-A counter- tenor  for Vivaldi.
-A  female voice (alto or mezzo) for Francisquillo ( manservant 1)
-A lyric voice coming from traditional musics for the part of Filomeno ( manservant 2)
-A  women’s choir   in the scene  at “ the Ospedale de la Pietà “ in which the Priest Antonio Vivaldi introduces the orphans , pupil-musicians of the “ Maestro” :

 Cattarina del Cornetto…..Bettina della viola all’inglese…
Bianca Maria Organista…Margherita dell’arp dopio…
Giuseppina del chitarone….Claudia del flauto…
Lucietta della violetta inglese….

 As well as in the hospital scene , the choir  also acts as a”coryphaeus “ taking turns with manservant 1.
 Several supporting roles  are also  cast to members of the choir.
In order to achieve an alchemy of voices, the vocal mass it represents, is combined with the instrumental writing.

“Reading and reading …off”

The meeting of Vivaldi , Haendel ,Scarlatti , Stravinski , Armstrong  is also  a new musical story resulting in contemporary rearrangement, leading the audience to recognize or find out some quotations or borrowings……

Creation : season 2018  /2019
Opéra du Grand Avignon (Executive Producer)

Dominique Visse,
Ensemble vocal « Les Voix Animées », direction :Luc Coadou,
« Concerto Soave» direction : Jean-Marc Aymes.

 

«Tubos»
Trilogy dedicated to Georges Petit

For several wind-instruments, saxophones and audio support.

For the saxophonist and improviser Georges Petit.

Without neglecting in any way his saxophones  , Georges Petit has been developing for years a genuine craftsmanship by reinventing traditional instruments very often evoking the Mediterranean countries.

Tubos” aims to make the most of the world  of sounds that Georges Petit has thus explored.
“Recceto” is the title of the first part of this trilogy.