Charpentier: David et Jonathas, H. 490

Les Pages du Centre de musique baroque de Versailles, Les Chantres du Centre de Musique Baroque de Versailles, Les Temps Présents, Olivier Schneebeli, Jean-François Novelli, Clément Debieuvre, David Witczak, Natacha Boucher, Edwin Crossley-Mercer, Jean-Fr

Paru le 1/03/24 chez Aparté
Artistes principaux : Les Pages du Centre de musique baroque de Versailles, Les Chantres du Centre de Musique Baroque de Versailles, Les Temps Présents, Olivier Schneebeli,
Genre : Opéra

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Langue disponible : anglais

Marc-Antoine Charpentier's David et Jonathas, setting the action-packed biblical story of Saul, has not often been recorded. William Christie and Les Arts Florissants fired the first shot in the late '90s, and there have been a few other attempts, but the work crosses categories -- not really an oratorio, with a limited role for the chorus, but not an opera in the conventional sense -- and this may have hurt it at the box office. The Centre de Musique Baroque de Versailles specializes in music of this period, and Charpentier is certainly right up this outfit's alley. The recording was made at Versailles, but its strength is actually that it reproduces the circumstances of its origin, which occurred elsewhere, at a Jesuit school in Paris. The music was intended to alternate with scenes from a play; here, conductor Olivier Schneebeli opts for declaimed readings from poetry by the 17th century writer Antoine Godeau. The work was written for young singers, not only in the children's choir but also a child in the lead role of Jonathas, and Natacha Boucher has a great deal of flair here, certainly sounding like a future star. All the singers are either children or male adults. The music is continuous, and Charpentier's writing sometimes falls into melody or recitative but is most often somewhere in between, shifting naturally with the text. Some of it is quite vocally spectacular, however; sample "Quelle importune voix vient importune mon repos," Act I, scene 4, with its bass line descending to Russian-liturgical depths. Although the opera has five acts and a prologue, it goes by quickly; no doubt with the original use in mind, Charpentier's concept is compact. What is most attractive about the work is how opposite it is to the splendor and formality of Lully; the role of the chorus is limited, and the focus is squarely on the characters. Baroque opera lovers will find something new and intriguing here.

© James Manheim /TiVo

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Charpentier: David et Jonathas, H. 490

Les Pages du Centre de Musique Baroque de Versailles

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David et Jonathas, H. 490, Prologue (Marc-Antoine Charpentier)

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Clément Buonomo