Théo Ould, Francis Poulenc, Pierre Blanchard, Stacey Kent, Lol Tolhurst x Budgie x Jacknife Lee, Togo All Stars

2023-11-10 17:00:14

Magic lantern

Works by Jean-Philippe Rameau, Jean-Sébastien Bach, Wolfgang Amadeus Mozart, Pyotr Ilitch Tchaikovsky, Enrique Granados, Dimitri Shostakovich, Régis Campo and Tomas Gubitsch, by Théo Ould (accordion).

Cover of the album “Laterna Magica”, by Théo Ould. ALPHA CLASSICS/OUTHERE MUSIC

For Théo Ould, 25, the accordion is a box to play. He does not take out this or that musical puzzle from his instrument with a view to a playful activity, it is the accordion itself which is an object of fantasy. For example, in the Magic Lantern by Régis Campo where the notes (repetitive) and the noises (rubbing of buttons, scraping of metal grille) are governed by crazy mechanics. The other pages of this Franz Liszt-style recital (virtuosity and eclecticism) are not all popular. If Jean-Philippe Rameau, Enrique Granados and Piotr Ilitch Tchaikovsky benefit from a personalized rereading, Jean-Sébastien Bach is only half seduced (Touched chiseled but Chaconne impasto). The same goes for the creations of Tomas Gubitsch, very musical but too influenced by Astor Piazzolla. Finally, only Régis Campo (with Mania! et Ad Astra) appears here as Théo Ould’s ideal playmate. Pierre Gervasoni

Alpha Classics/Outhere Music.

Litany to the Black Madonna FP 82. Stabat Mater FP 148. O sweet gaze, o graceful speech by Clément Janequin

Ensemble Aedes, Les Siècles, Marianne Croux (soprano), Louis-Noël Bestion de Camboulas (organ), Mathieu Romano (conductor).

Cover of the album of “Stabat Mater”, by Francis Poulenc, by the Aedes Ensemble. Aside

Poulenc’s first choral work in its prime version with organ, the Litany to the Black Madonna seduce with a unique writing, between archaism and modernity. Led by the prophetic organ of Louis-Noël Bestion de Camboulas, the Aedes choir delivers an ideal version. The a cappella song by Clément Janequin O sweet look, o graceful speech constitutes an ideal gateway to approach the centerpiece which constitutes the famous Stabat Mater written by Poulenc in memory of his friend, the artist Christian Bérard – undoubtedly one of his most inspired sacred music. To the credit of this high-flying interpretation, the skilful dosage of a narrative orchestra, whose imposing squad, impressively powerful in the drama, in no way hinders an expressiveness carried by clarity, subtlety and unique fervor voices and instruments. In the two sequences that require a solo voice – He saw his own Then Make it a gate –, soprano Marianne Croux is overwhelmed by the ecstatic contemplation of her breathing. Perfection of the choir, complicity of the orchestra, the inspiration of conductor Mathieu Romano offers us one of the most beautiful versions ever recorded. Marie-Aude Roux

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