{"id":18418,"date":"2021-07-05T15:36:26","date_gmt":"2021-07-05T12:36:26","guid":{"rendered":"https:\/\/www.epcc.ee\/?p=18418"},"modified":"2021-07-06T15:44:33","modified_gmt":"2021-07-06T12:44:33","slug":"innocence-de-kaija-saariaho-un-drame-sublime","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2021\/07\/innocence-de-kaija-saariaho-un-drame-sublime\/","title":{"rendered":"Innocence de Kaija Saariaho, un drame sublime"},"content":{"rendered":"
\n
\"Innocence<\/a><\/p>\n

Photo Jean-Louis Fernandez<\/p>\n<\/div>\n

Au Festival d\u2019Aix-en-Provence, la cr\u00e9ation mondiale d\u2019Innocence<\/em>, le dernier op\u00e9ra de la compositrice Kaija Saariaho saisissant d\u2019intensit\u00e9 musicale et th\u00e9\u00e2trale, a produit un v\u00e9ritable choc \u00e9motionnel.<\/strong><\/p><\/blockquote>\n

R\u00e9p\u00e9t\u00e9 il y a plus d\u2019un an et report\u00e9 \u00e0 cause de la pand\u00e9mie de Covid-19,\u00a0Innocence<\/em>\u00a0de Kaija Saariaho, mis en sc\u00e8ne par\u00a0Simon Stone<\/strong>, s\u2019est enfin laiss\u00e9 d\u00e9couvrir et a tenu toutes ses promesses. L\u2019\u0153uvre a intrigu\u00e9, captiv\u00e9, boulevers\u00e9 de bout en bout. La compositrice finlandaise a fait appel \u00e0 sa compatriote, la romanci\u00e8re\u00a0Sofi Oksanen<\/strong>, pour \u00e9crire un livret qui fait s\u2019articuler deux intrigues parall\u00e8les, et finalement d\u00e9pendantes l\u2019une de l\u2019autre. L\u2019action commence sur la f\u00eate donn\u00e9e \u00e0 l\u2019occasion du mariage d\u2019un jeune couple, puis bascule vers un atroce fait divers : une fusillade survenue dans une \u00e9cole internationale d\u2019Helsinki. Treize personnages vivent \u00e0 leur mani\u00e8re, de leur point de vue, le tragique \u00e9v\u00e8nement. Ils s\u2019expriment dans pas moins de neuf langues diff\u00e9rentes. Cette pluralit\u00e9 originale et s\u00e9duisante rend compte du cosmopolitisme et du multiculturalisme de la soci\u00e9t\u00e9 actuelle. Tout t\u00e9moigne d\u2019un ancrage r\u00e9solu de l\u2019op\u00e9ra dans notre contemporan\u00e9it\u00e9.<\/p>\n

Innocence<\/em>\u00a0remonte progressivement le fil du temps. Il ravive les fant\u00f4mes et explore les traumatismes g\u00e9n\u00e9r\u00e9s. C\u2019est pourquoi Simon Stone qualifie l\u2019\u0153uvre d\u2019op\u00e9ra\u00a0\u00ab th\u00e9rapeutique \u00bb<\/em>. Jamais la voix n\u2019est donn\u00e9e au tireur. Ce sont les victimes et les survivants qui ont la parole. Ainsi s\u2019expose une trag\u00e9die d\u2019aujourd\u2019hui, une situation de crise \u00e0 la fois personnelle et collective, un drame familial, social, moral, qui interroge la violence humaine, le poids du pass\u00e9, des non-dits, les ravages de la cruaut\u00e9 et de la culpabilit\u00e9, les notions d\u00e9licates de responsabilit\u00e9, d\u2019impossible et n\u00e9cessaire r\u00e9silience.\u00a0Ces th\u00e8mes font la richesse d\u2019une \u0153uvre grave, complexe, puissamment dramatique, mais non exempte d\u2019une certaine esp\u00e9rance.<\/strong><\/p>\n

Avec beaucoup de force et de subtilit\u00e9,\u00a0Innocence<\/em>\u00a0met \u00e0 nu l\u2019ambivalence et l\u2019insondable douleur qui habitent ses personnages. Ces derniers sont d\u2019ailleurs magnifiquement incarn\u00e9s par des interpr\u00e8tes dot\u00e9s d\u2019une belle sensibilit\u00e9, qui n\u2019\u00e9prouvent jamais le besoin de forcer le trait. Citons les talentueux\u00a0Sandrine Piau<\/strong>,\u00a0Jukka Rasilainen<\/strong>,\u00a0Lucy Shelton<\/strong>,\u00a0Camilo Delgado Diaz<\/strong>\u00a0m\u00eame si aucun r\u00f4le ne para\u00eet secondaire tant le livret, la musique et la mise en sc\u00e8ne font \u0153uvre d\u2019une profondeur psychologique et d\u2019une vibrante humanit\u00e9. Une figure se distingue car elle assure la jonction entre les deux histoires : c\u2019est la m\u00e8re bouleversante de Magdalena Ko\u017een\u00e1, employ\u00e9e de service du restaurant confront\u00e9e \u00e0 l\u2019impossibilit\u00e9 de faire le deuil de sa fille disparue au cours de l\u2019attentat et hant\u00e9e par la pr\u00e9sence fantomatique de l\u2019adolescente. La jeune chanteuse folk\u00a0Vilma J\u00e4\u00e4<\/strong>\u00a0lui pr\u00eate ses traits de poup\u00e9e de porcelaine et sa voix superbement rauque et cristalline.<\/p>\n

Dans l\u2019\u00e9criture tr\u00e8s innovante, exigeante, de Kaija Saariaho, les mots trouvent une place primordiale. Ils sont chant\u00e9s ou parl\u00e9s selon que le r\u00f4le est tenu par un chanteur ou un com\u00e9dien. La compositrice a choisi pour chacun des personnages une tessiture caract\u00e9ristique, une typologie vocale pr\u00e9cise et une orchestration personnalis\u00e9e.\u00a0Si l\u2019\u0153uvre fait une aussi forte impression, c\u2019est aussi qu\u2019elle est formidablement restitu\u00e9e par la cheffe Susanna M\u00e4lkki, ardente d\u00e9fenseuse de la musique contemporaine, avec toute l\u2019exactitude m\u00e9ticuleuse qu\u2019on lui conna\u00eet.<\/strong>\u00a0Sous sa direction d\u2019une ma\u00eetrise stup\u00e9fiante, le London Symphony Orchestra et l\u2019Estonian Philharmonic Chamber Choir alternent opulence et transparence pour d\u00e9ployer des timbres, des couleurs, des contrastes, des harmonies les plus vari\u00e9es, raffin\u00e9es ou satur\u00e9es, et former une texture impressionnante de densit\u00e9.<\/p>\n

Enfin, l\u2019australien Simon Stone r\u00e9alise une mise en sc\u00e8ne cin\u00e9matographique qui convient parfaitement au thriller haletant qu\u2019est\u00a0Innocence<\/em>.\u00a0Sa mise en sc\u00e8ne \u00e9blouissante allie monumentalit\u00e9 sc\u00e9nographique et d\u00e9pouillement du jeu th\u00e9\u00e2tral.<\/strong>\u00a0Elle s\u2019appuie sur un d\u00e9cor magistral : un b\u00e2timent complet construit sur un plateau tournant qui d\u00e9voile la quantit\u00e9 de lieux diff\u00e9rents qui le constituent. L\u00e0 o\u00f9 repose principalement la virtuosit\u00e9, c\u2019est que, dans son mouvement giratoire quasiment ininterrompu, l\u2019espace se reconfigure, se m\u00e9tamorphose, de sorte \u00e0 cr\u00e9er la collision spatio-temporelle qui permet de voir s\u2019actualiser et s\u2019interp\u00e9n\u00e9trer les deux moments de l\u2019intrigue. L\u2019\u00e9l\u00e9gante salle de banquet o\u00f9 les convives se rassasient dans la ferveur devient l\u2019angoissant lyc\u00e9e avant et apr\u00e8s l\u2019attentat perp\u00e9tr\u00e9. A mesure que l\u2019intrigue progresse dans son retour en arri\u00e8re, le d\u00e9cor se d\u00e9semplit au point de se r\u00e9duire \u00e0 des pi\u00e8ces vides, des murs nus, des corps d\u00e9munis, inertes, qui baignent dans leur sang. Ce travail si pertinent sur l\u2019espace, sur les corps, sur le mouvement, s\u2019accompagne d\u2019une lecture fine, jamais sensationnaliste, moins clinique qu\u2019empathique, et d\u2019une direction d\u2019acteurs au plus pr\u00eat de la v\u00e9rit\u00e9 existentielle de ce qui se joue.<\/p>\n

D\u00e9cid\u00e9ment, le Festival d\u2019Aix se pr\u00e9sente comme l\u2019une des sc\u00e8nes phares de l\u2019op\u00e9ra d\u2019aujourd\u2019hui.<\/strong>\u00a0Il y a bient\u00f4t dix ans, d\u00e9j\u00e0 au Grand Th\u00e9\u00e2tre de Provence, le public d\u00e9couvrait enthousiasm\u00e9\u00a0Written on skin<\/em>\u00a0de George Benjamin. L\u2019ouvrage s\u2019est impos\u00e9 comme une r\u00e9f\u00e9rence absolue. Gageons qu\u2019apr\u00e8s avoir re\u00e7u un triomphe le soir de sa premi\u00e8re,\u00a0Innocence<\/em>, le cinqui\u00e8me op\u00e9ra de Kaija Saariaho, suive le m\u00eame chemin.<\/p>\n

Christophe Candoni \u2013 www.sceneweb.fr<\/strong><\/p>\n

Innocence<\/strong>
\nOp\u00e9ra en cinq actes de Kaija Saariho (1952)
\nLivret de Sofi Oksanen, traduit par Aleksi Barri\u00e8re<\/strong><\/p>\n

Direction musicale\u00a0<\/strong>Susanna M\u00e4lkki<\/strong>
\nMise en sc\u00e8ne\u00a0<\/strong>Simon Stone<\/strong>
\nSc\u00e9nographie\u00a0<\/strong>Chloe Lamford<\/strong>
\nCostumes\u00a0<\/strong>Mel Page<\/strong>
\nLumi\u00e8re\u00a0<\/strong>James Farncombe
\n<\/strong><\/p>\n

Avec
\nWaitress,\u00a0<\/strong>Magdalena Ko\u017een\u00e1<\/strong>
\nMother-in-Law,\u00a0<\/strong>Sandrine Piau<\/strong>
\nFather-in-Law,\u00a0<\/strong>Tuomas Pursio<\/strong>
\nBride,\u00a0<\/strong>Anna Prohaska*<\/strong>
\nGroom,\u00a0<\/strong>Markus Nyk\u00e4nen<\/strong>
\nPriest,\u00a0<\/strong>Jukka Rasilainen<\/strong>
\nTeacher,\u00a0<\/strong>Lucy Shelton<\/strong>
\nStudent 1 (Marketa),\u00a0<\/strong>Vilma J\u00e4\u00e4<\/strong>
\nStudent 2 (Lilly),\u00a0<\/strong>Beate Mordal*<\/strong>
\nStudent 3,\u00a0<\/strong>Julie Hega<\/strong>
\nStudent 4,\u00a0<\/strong>Simon Kluth<\/strong>
\nStudent 5 (Jeronimo),\u00a0<\/strong>Camilo Delgado D\u00edaz<\/strong>
\nStudent 6,\u00a0<\/strong>Marina Dumont<\/strong>
\nCh\u0153ur\u00a0<\/strong>Estonian Philharmonic Choir<\/strong>
\nOrchestre\u00a0<\/strong>London Symphony Orchestra<\/strong><\/p>\n

Commande et coproduction du Festival d\u2019Aix-en-Provence, San Francisco Opera, Dutch National Opera, Finnish National Opera and Ballet, Royal Opera House Covent Garden<\/strong><\/p>\n

Editeur Chester Music LTD<\/strong><\/p>\n

Dur\u00e9e : 1h45<\/strong><\/p>\n

Festival d\u2019Aix 2021
\nGrand Th\u00e9\u00e2tre de Provence
\n3, 6, 10 et 12 juillet 2021<\/em><\/p><\/blockquote>\n

<\/div>\n<\/div>\n

Look more:\u00a0https:\/\/sceneweb.fr\/innocence-la-creation-de-kaija-saariaho-au-festival-daix\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Photo Jean-Louis Fernandez Au Festival d\u2019Aix-en-Provence, la cr\u00e9ation mondiale d\u2019Innocence, le dernier op\u00e9ra de la compositrice Kaija Saariaho saisissant d\u2019intensit\u00e9 musicale et th\u00e9\u00e2trale, a produit un v\u00e9ritable choc \u00e9motionnel. R\u00e9p\u00e9t\u00e9 il y a plus d\u2019un an et report\u00e9 \u00e0 cause de la pand\u00e9mie de Covid-19,\u00a0Innocence\u00a0de Kaija Saariaho, mis en sc\u00e8ne par\u00a0Simon Stone, s\u2019est enfin laiss\u00e9 […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-18418","post","type-post","status-publish","format-standard","hentry","category-media"],"acf":[],"yoast_head":"\nInnocence de Kaija Saariaho, un drame sublime - Estonian Philharmonic Chamber Choir<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.epcc.ee\/en\/2021\/07\/innocence-de-kaija-saariaho-un-drame-sublime\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Innocence de Kaija Saariaho, un drame sublime - Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"og:description\" content=\"Photo Jean-Louis Fernandez Au Festival d\u2019Aix-en-Provence, la cr\u00e9ation mondiale d\u2019Innocence, le dernier op\u00e9ra de la compositrice Kaija Saariaho saisissant d\u2019intensit\u00e9 musicale et th\u00e9\u00e2trale, a produit un v\u00e9ritable choc \u00e9motionnel. 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