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"Youssef, Mariam and Jesuha, asylum-seekers"
Festival de Musique Sacrée of Perpignan
March 20, 2016 – Théâtre Municipal
"Youssef, Mariam and Jesuha, asylum-seekers" - Oratorio
Music :Gérard Garcin / Text :Ricardo Montserrat
Christ, asylum-seeker like anyone else....
This creation directed by Daniel Tosi, combines the themes of The Nativity and the drama of refugees.
It's a lyrical, dramatic work of modern times which draws its significance in the universal story of The Nativity and which offers a specific echoing with the contemporary planet challenges .
Original proposition in "the Festival de Musique Sacrée " of Perpignan, this work is full of emotion.
Commissioned by UNESCO in 1992, the libretto written by R.Montserrat can be transposed in our time.
The music conveyed by the choir is meant to be melodious, full of serenity and hope.
The different components of the orchestra (woodwind, brass, strings, percussion instruments, keyboards, accordions, guitars) bring soothing and sollicitude while the actors, in turn, interpret the Great Elements of a "Retable of Nativity "....
This work "boiling from the inside"shows once more that Music is not necessarily entertaining but it can also support an intellectual and dramatic approach.
Julien Marion L'indépendant - March 2016
"Le dernier éclat – in memoriam Yvonne Quinzii (Requiem)"
Avignon - Journées Messiaen à Saint Agricol.
"They are singing a new canticle"
…”The last burst”, inspired by a liturgical requiem and a poem written by Max Loreau.
How can one talk about this masterpiece in which” unpartitioned” art spreads out totally and finds its way along other lanes, along which unity rises up from the multiplicity of sounds and chords, owing to the place of reciting and singing alternately?
It’s not the pale sunshine of the Dead which illuminates this extraordinary landscape from a hereafter lacerated by cries, echoes of the” inhuman lamentation” which will die on the verge of our eternity. “Symphony for a memory, “the last burst” bathes in the rays of “eternal lighting”.
“Dramatic force, emotion, fusion with the sacred space,” new chant”. This creation reaches to infinity.
A.H La Marseillaise 13 / 05 / 2010
Résidence aux Dominicains de Haute-Alsace.
« The Requiem » is the last piece composed by G.Garcin at the end of his residence at «the Dominicains de Guebwiller».
“This creation can't leave anyone indifferent...., from pure gregorian chant to contemporary music, using harmonisations of plainchant enhanced by instruments such as harpsichord, lute(theorbo), baroque cello or cornetto, Gerard Garcin has offered Arlette Steyer and the boys'choir of Colmar, a unique opportunity to be highlighted while emphasising an oustanding and uncommon work”.
Jean- Marie Schreiber L'Alsace – 18 avril 2008
«An imposing Requiem »
In the tradition of Fauré and Duruflé, G.Garcin achieves a new Requiem » with the same French delicacy that his predecessors.
Pierre Chevreau Dernières Nouvelles d'Alsace -16 avril 2008
"LES CHANSONS DE MOTHY ET CROCKY"
" ... written by Gerard Garcin based on poems by Yvonne Quinzii, these 19 short pieces / gems, humorous and poetic, are performed by various vocal ensembles. This production is fascinating and highly commendable. It abolishes the barriers between traditional repertoire and contemporary creation, classes without specialisation and confirmed choirs"
Helene Jarry. La lettre d'information du Ministere de l'Education Nationale; February 2006
"BORBOLETAS"
"A world premiere. And also audacity and discovery with the premiere of "Borboletas" as part of the commission by the Dominicains of Haute Alsace, concerto for oboe and strings by Gerard Garcin. Entrusted to the performer Sebastien Giot, "Borboletas" is a demanding page for the performers, but also very accessible for the listener: modern without being provocative, and personal without extravagance, its sincere and generous lyricism - already noted last May at Guebwiller during the premiere of the opera "at the river's sources" - received a warm welcome in the presence of the composer"
Denis Lustenberger. Les dernieres nouvelles d'Alsace. October 30, 2005
"AUX SOURCES DU FLEUVE"
"On May 13, 2005, the first performance of one of the first operas of the XXIst century was done. This music did not captivate the audience at once. But very soon, it became bewitching, there is some magic, fantastic in this work."
Jean-Marie Schreiner - L'Alsace. May 2005
"In a sober but judiciously conceived scenography, which is signed by the great grand niece of the composer, the artist Catherine Reboul Berlioz, the work that never takes to Berlioz is not devoid of charm. Amongst a homogeneous casting, one must notice Jacques Bona's dreamy figure, who plays a dark and lonely composer effectively with his sure voice of bass-baritone, the baritone Luc Coadou's acrobat stature, Jean Philippe Wurtz's reliable and pragmatic conducting and the excellent Calliope ensemble."
Bruno Serrou - La Croix. August 2005
If contemporary music can still look elitist and hermetic for some people, it is not for the students of Lautenbach-Zell and Rebzunft schools in Guebwiller: theatrical and musical inspirers, actors and chorus singers of the opera first act, they gave their enthusiasm and their mischievousness to a work of the XXIst century that is attractive and easily understandable."
Bernard FZ - Dernieres nouvelles d'Alsace. May 2005
" COMME " - oratorio for mixed choir, children choir, soprano, baritone and two flutes, on a text by Max LOREAU.
"This oratorio, in less than 90 minutes, leads us from borders of the purest lyricism to the summits of most perfect fancy."
Gabriel VIALE - La Marseillaise. February 15, 1985
" LA ULTIMA PUERTA OU LE DERNIER COMBAT DE CLORINDE " - Lyric Drama (texts by Torquato Tasso, Isabel Garcia Velez, Pierre Barrat)
" Mission accomplished with the premiere of the work by Gerard GARCIN where the worst could have been feared considering its true texture. The composer we already wrote in these columns for his direction of the vocality and the theatre "
Guy ERISMANN - Opéra international Décembre 1987
"Music by Gerard GARCIN surprises by its profusion without discouraging by its modernity: initially surprised, the listener feels quickly comfortable in this inventive and shimmering universe "
Denis LUSTENGERGER -Les Dernières Nouvelles d'Alsace. May 23, 2002
" LE THE A LA MENTHE " Opera (libretto by Monique Dieuleveux)
"The Mint Tea by Gerard Garcin and Monique Dieuleveux is a perfect example of its kind which should arouse the interest of other communities in charge of the good health of the men of tomorrow."
Guy ERISMANN - Opéra international. Septembre 1992
" D'ECUME ET DE CENDRES " - Opera (libretto by Yvonne QUINZII)
"Here, nothing simplistic, no esthetics of complaisance, but a demanding and positive score, able to emphasize a rich libretto of contrasts and surprises, as well as provoking the creativity of a coherent and close knit collective..."
Guy ERISMANN -Opera international. June 1999
" AR PEVARE TREIZER - LE QUATRIEME PASSEUR " - Lyric Drama (text by Yvonne QUINZII)
"The very contemporary music sometimes leads you astray, but the melody richness is such that it transports you with its sound swarming, its intense life. This surprising but harmonious mix produces poetry. In it lives the "Celtic" spirit of the whole part."
Elliane FAUCON-DUMONT - Le Télégramme. November 4, 1993
" 2+2+2+2 " for 4 couples of instruments
"Here, the quality of the writing for the 8 instruments is particularly striking. Nothing very traditional as for their treatment, as in works by DONATONI, but an understanding of good notes and mixes worthy of the Master ".
Gérard CONDE - Le Monde. January 21, 1979
"CINQUE PER SEI" for percussion instruments
"... richness of material and density of musical time contribute to the success of this work "
G. HILPIPRE - Les Dernières Nouvelles d'Alsace. October 1983
" NACIMIENTO " for instrumental ensemble
" In the world premiere of "Nacimiento" for 11 instruments, Gerard GARCIN shows a real direction of the timbric mixes, creating thanks to a suggestive language a "nonrigid Klangfarbenmelodie". "
I. HONTANON - A. B. C. Madrid. May 24, 1985
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