It is in the small auditorium of the Museum of Art and History of Judaism, in Paris, that the tenor Cyrille Dubois and his pianist, Tristan Raës, distilled, Thursday, June 2, a dazzling recital of French melodies around Reynaldo Hahn (1874-1947) and Gabriel Fauré (1845-1924), of which they have just published a masterful integral for the Aparté label in co-production with the Palazzetto Bru Zane. The two musicians, who met in the mid-2000s at the Paris Conservatory, form the Duo Contraste. A rather badly chosen surname (unless it is antiphrastic), as the accomplices seem, on the contrary, subtly paired.
Since his Victoire de la musique in 2015 in the “lyrical revelation” category, the tenor, born on September 27, 1984, in Ouistreham, passed by the Atelier lyrique of the Paris Opera, has literally exploded. The voice is clear and supple, composed in the bass, controlled in the treble, with an infinite color chart in the conduct of the line, between modesty and emotion. A song of absolute fidelity to the text, a model of style and diction.
The singer will deploy a goldsmith’s work, giving each piece its content of salon romanticism, elegy, poetry
Passed a certain nervousness in the voice in the first melodies extracted from the verlainiennes gray songsthe Reynaldo Hahn (Both), the singer will deploy a goldsmith’s work, giving each piece its content of salon romanticism, elegy, poetry. He tackles in full voice the first of the Roundsand Spring exalted calling the symphonic piano with almost Wagnerian sonorities which accompany The stars. Between the two Théodore de Banville, the witty and falsely archaic When I was taken to the pavilionby Charles of Orleans.
Gabriel Fauré imposes himself with his opus 85, three melodies from the late period. After Reynaldo Hahn’s romance, the metaphysics of nature: In the September forest et The flower that goes on the water (Catulle Mendès), inspired, vehement music, magnified by a piano part powerfully evocative of the elements, the symbolism of Albert Samain finding in Accompaniement ideally dark accents.
poignant emotion
Return to Reynaldo Hahn with five independent melodies. Whether The Enamored transforms Cyrille Dubois into a luxury crooner, the baroque paraphrase ofA Chloris is written in the style of Bach, played with the right amount of reverence by the piano of Tristan Raës. The tragedy To our ignored dead resonates with particularly poignant emotion. The disenchanted resignation From a jail, by Verlaine, then the fervent memory of the lost love of The Forsaken end this penultimate part in a melancholic atmosphere.
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