Organization

Дирижер

Damien Guillon

Певец

Сопрано

Céline Scheen

Контральто

Paul Figuier

Alto

Тенор

Thomas Hobbs

Бас

Benoît Arnould

Хормейстер

Gildas Pungier

Opéra de Rennes

Orchestra

Le Banquet Céleste

Others

Chœur de Chambre Mélisme

La Seine Musicale

Bach, Easter and Ascension Oratorios

Булонь-Бийанкур

Франция

Bach, Easter and Ascension Oratorios: Concert Various

Public

Private

Концерт

Одобрено

Jean-Sébastien Bach composa plusieurs grands oratorios luthériens pour servir la liturgie pascale. Entre méditation et théâtre sacré, ces partitions sont aujourd’hui interprétées dans des lieux profanes et appréciées pour elles-mêmes, comme l’est, de façon générale, toute la musique de Bach.

Son Oratorio de Pâques apporte une réponse joyeuse à la Passion selon saint Jean, récit des souffrances et de la mort du Christ. Son enthousiasme communicatif contraste avec le climat plus douloureux de l’Oratorio de l’Ascension qui évoque le voyage mystique du corps du Christ vers les cieux, victoire définitive sur la mort. Dans ces deux partitions, Bach déploie tout son génie dramaturgique, alternant de grands chœurs brillants, typiques de son art choral, et des airs solistes d’une émotion poignante.

français

Johann Sebastian Bach  composed several great Lutheran oratorios to serve the Easter liturgy. Between meditation and sacred theatre, these scores are today performed in profane places and appreciated for themselves, as is, in general, all of Bach's music.

His  Easter Oratorio  provides a joyful response to the  St John Passion , an account of Christ's suffering and death. Its communicative enthusiasm contrasts with the more painful atmosphere of the Oratorio de l'Ascension,  which evokes the mystical journey of the body of Christ towards the heavens, a definitive victory over death. In these two scores, Bach deploys all his dramaturgical genius, alternating  large brilliant choirs , typical of his choral art, and  solo arias  of poignant emotion.

More

Although not performed, the oratorio is not devoid of theatricality. Indeed, Lent does not impose a musical fast on believers but it prohibits performances. In this period of meditation, the opera is therefore replaced by the oratorio, more favorable to contemplation. However, the latter has many similarities with its profane cousin, especially in the alternation between recited action and sung commentary. Specialists in the baroque repertoire,  Damien Guillon  and his ensemble  Le Banquet Céleste will be able to draw on the infinite richness of Bach's language to restore the dramatic tensions of the biblical story. And highlight the important instrumentarium of the oratorio, with trumpets and timpani, which Bach exploits in an extraordinary variety of combinations, the instruments dialoguing in groups, renewed according to the scenes, or in duets with a soloist. The  Chœur Melisme(s) will  flourish in the tutti, as in the great ceremonial choir which concludes the Ascension  and sings the fervent expectation of the return of Christ for eternity, framed by a large   , brilliant instrumental sinfonia and dancing.

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