Name: Poesie celeste Akimenko – A. & G. Mahler
Start: 2024-02-01T00:00:00.000Z
End: 2024-02-02T00:00:00.000Z
Location: Salle Poirel

Organization

Opéra national de Lorraine

Conductor

Marta Gardolińska

Singer

Soprano

Hélène Carpentier

Sopran

Orchestra

Orchestre de l'Opéra national de Lorraine

Poesie celeste  Akimenko – A. & G. Mahler

Nancy

France

Salle Poirel

Public

Ange [Angel] - Poème Nocturne for Orchestra

Four Last Songs

Symphony 4

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Countertenor

Bass-baritone

Baritone

Tenor

Mezzo-soprano

Bass

Alto

Child vocalist

Continuo

Silent

Spoken

Compositeur et pianiste ukrainien (il naît à Kharkiv), Théodore Akimenko appartient à cette génération post-romantique trop brutalement éclipsée par les figures plus radicales de la modernité. L’œuvre de celui qui fut l’élève de Rimski-Korsakov et le professeur de Stravinsky mérite pourtant amplement une redécouverte. S’y mêle dans une alchimie unique les réminiscences atténuées d’un colorisme russe qu’il léguera à son élève, une langueur nostalgique très mitteleuropa qui le rapproche d’un Zemlinsky et les magies orchestrales issues des impressionnistes français, sans laisser aucune sensation de mélange hétéroclite : c’est, comme en témoigne ce poème nocturne Ange de 1924, qu’une vraie personnalité musicale est à l’œuvre. 

En apparence la plus avenante et accessible du compositeur, la Quatrième symphonie de Gustav Mahler n’en reste pas moins insaisissable par bien des aspects. Tantôt faussement naïve et sincèrement candide, tout à la fois grinçante et innocente, pleine de sous-entendus et pourtant littérale, tournée vers le passé comme vers l’avenir — elle est achevée à la césure de deux siècles —, elle n’a de cesse de nous montrer son visage de Janus. Elle est présentée ici dans la toute nouvelle édition critique réalisée d’après les corrections apportées par Mahler lui-même lors de son dernier concert new-yorkais en février 1911. Lorsqu’il termine cette symphonie en 1901, Mahler est sur le point de rencontrer Alma Schindler, sa future femme. Lorsqu’il termine cette symphonie en 1901, Mahler est sur le point de rencontrer Alma Schindler, sa future femme. Cette même année, elle compose ses Fünf Gesänge, qui sont comme le reflet intime de leur amour naissant.

français

Ukrainian composer and pianist (he was born in Kharkiv), Theodore Akimenko belongs to this post-romantic generation too brutally eclipsed by the more radical figures of modernity. The work of the man who was a pupil of Rimsky-Korsakov and teacher of Stravinsky, however, amply deserves a rediscovery. Mixed in a unique alchemy are the attenuated reminiscences of a Russian colorism that he bequeathed to his pupil, a very Mitteleuropa nostalgic languor that brings him closer to a Zemlinsky and the orchestral magics from the French Impressionists, without leaving any feeling of heterogeneous mixture: it is, as evidenced by this nocturnal poem Ange from 1924, that a real musical personality is at work. 

Seemingly the composer's most pleasant and accessible, the Fourth Symphonyby Gustav Mahler remains nonetheless elusive in many ways. Sometimes deceptively naive and sincerely candid, at the same time grating and innocent, full of innuendo and yet literal, turned towards the past as well as the future — it is completed at the break of two centuries — it has no stops showing us his Janus face. It is presented here in the brand new critical edition based on the corrections made by Mahler himself during his last concert in New York in February 1911. When he finished this symphony in 1901, Mahler was about to meet Alma Schindler, his future wife. When he finished this symphony in 1901, Mahler was about to meet Alma Schindler, his future wife. That same year, she composed her Fünf Gesänge, which are like the intimate reflection of their budding love.

English

Poesie celeste Akimenko – A. & G. Mahler by Akimenko, Strauss, Mahler, De la (2024/2024), Dirijor Marta Gardolińska, Salle Poirel, Nancy, France

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