{"id":18706,"date":"2021-07-08T12:11:37","date_gmt":"2021-07-08T09:11:37","guid":{"rendered":"https:\/\/www.epcc.ee\/2021\/07\/innocence-a-aix-en-provence-saariaho-cultive-le-secret\/"},"modified":"2021-08-24T12:16:56","modified_gmt":"2021-08-24T09:16:56","slug":"innocence-a-aix-en-provence-saariaho-cultive-le-secret","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2021\/07\/innocence-a-aix-en-provence-saariaho-cultive-le-secret\/","title":{"rendered":"Innocence \u00e0 Aix-en-Provence : Saariaho cultive le secret"},"content":{"rendered":"
Cr\u00e9ation mondiale au Festival d’Aix-en-Provence<\/a>. Ce n\u2019est pas rien. L\u2019op\u00e9ra\u00a0Innocence\u00a0<\/em>de\u00a0Kaija Saariaho<\/a>\u00a0a enfin vu le jour cet \u00e9t\u00e9. De ce qu\u2019il nous est permis de d\u00e9voiler sans r\u00e9v\u00e9ler\u00a0le d\u00e9nouement,\u00a0Innocence<\/em>, c\u2019est l\u2019histoire d\u2019un repas de mariage qui se d\u00e9roule devant nous et, en parall\u00e8le, des personnages viennent pour nous fournir, on le comprend, l\u2019historique d\u2019un drame survenu dix ans plus t\u00f4t auquel certains ont succomb\u00e9 et d\u2019autres surv\u00e9cu. Tout l\u2019op\u00e9ra, comme dans un parfait mouvement psychanalytique \u00e0 la Ibsen ou \u00e0 la Strindberg, se chargera au fur et \u00e0 mesure de r\u00e9v\u00e9ler \u00e0 chacun son propre pass\u00e9, comme un pass\u00e9 qui ne s\u2019efface pas.<\/div>\n
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Sur sc\u00e8ne, une tournette offre alternativement toutes les pi\u00e8ces d\u2019une \u00ab\u00a0international school<\/em>\u00a0\u00bb, coh\u00e9rente et efficace sc\u00e9nographie de\u00a0Chloe Lamford<\/a>\u00a0o\u00f9 tout se joue dans le lieu m\u00eame du drame. D\u00e8s lors, il y a le visible et le cach\u00e9. Ce que l\u2019on dit et ce que l\u2019on tait. Le pr\u00e9sent et le pass\u00e9. La parole et le silence. Les voix que l\u2019on voit et celles que l\u2019on entend. Le r\u00e9el et le spirituel, qui s\u2019opposent ici, sorte de passage vers l\u2019au-del\u00e0. Certains partis pris apportent une v\u00e9ritable transcendance \u00e0 l\u2019\u0153uvre comme le croisement entre les voix chant\u00e9es acoustiquement, ainsi que les voix parl\u00e9es-chant\u00e9es et le ch\u0153ur parfois repris en off au micro : autant de proc\u00e9d\u00e9s qui permettent de hi\u00e9rarchiser les \u00e9poques d\u2019\u00e9nonciation (moment du drame, moment du mariage et espace de l\u2019au-del\u00e0).<\/p>\n

Si l\u2019op\u00e9ra cultive une forme de secret, c\u2019est pour mieux nous saisir dans la qu\u00eate d\u2019une v\u00e9rit\u00e9 commune aux personnages. Les apparitions de Stella (Lilian Farahani<\/a>, la mari\u00e9e) \u2013 qui est comme nous, spectateurs, dans l\u2019innocence du drame \u2013 sont souvent accompagn\u00e9es d\u2019un carillon aux effluves de myst\u00e8re, appuy\u00e9 par l\u2019omnipr\u00e9sence des graves (clarinette basse, basson, contrebasson, trombone basse…) dans cette partition essentiellement climatique. Le reste \u00e9volue par alternance de nappes et jaillissements en tutti, dans un effet et un effort de compression, de concentration, pour nous offrir une tr\u00e8s grande \u0153uvre. La partition est servie d\u2019une main de ma\u00eetre par\u00a0Susanna M\u00e4lkki<\/a>\u00a0et le\u00a0London Symphony Orchestra<\/a> qui, d\u00e8s l\u2019ouverture de l\u2019op\u00e9ra, cr\u00e9e une bo\u00eete \u00e0 musique que l\u2019implacable et impeccable rigueur d\u2019ex\u00e9cution transformera vite en bo\u00eete de Pandore, r\u00e9v\u00e9lant un \u00e0 un les secrets, les d\u00e9fauts et les maux des individus, de l\u2019humanit\u00e9.<\/p>\n

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Une grande \u0153uvre musicale cependant quelque peu occult\u00e9e par une mise en sc\u00e8ne de\u00a0Simon Stone<\/a>\u00a0maladroite, in\u00e9gale, qui tente le pari de l\u2019exposition naturaliste de l\u2019action. En termes de r\u00e9f\u00e9rences, on le comprend tr\u00e8s vite, nous sommes \u00e0 la fois entre Vinterberg (r\u00e8glements de compte en famille dans\u00a0Festen<\/em>), Van Sant (th\u00e8me du drame avec\u00a0Elephant<\/em>), Lanthimos (l\u2019id\u00e9e contemporaine de la trag\u00e9die), et d\u2019autres encore ; dans ses cr\u00e9ations, Kaija Saariaho ne s\u2019est jamais cach\u00e9e de ses influences cin\u00e9matographiques. Le r\u00e9sultat sc\u00e9nique est pourtant plus proche d\u2019un mauvais film Netflix ou d\u2019un\u00a0soap opera<\/em>\u00a0: Simon Stone nivelle une partition extr\u00eamement sensible et d\u00e9licate pour la transformer en\u00a0soundtrack<\/em>\u00a0d\u2019un t\u00e9l\u00e9film \u00e0 suspens. On note ce moment surjou\u00e9 de la reconnaissance entre le beau-p\u00e8re et la serveuse, ou encore l\u2019aveu final du mari\u00e9 li\u00e9 au drame, coups de th\u00e9\u00e2tre bien maladroits dans le livret de Sofi Oksanen, non mieux exploit\u00e9s sur sc\u00e8ne. Tout tourne alors au pathos, un pathos \u00e0 la larme facile et sans distanciation. Ce m\u00eame pathos dans lequel s\u2019enfonce Julie Hega (Student 3, complice du drame), abandonn\u00e9e par le metteur en sc\u00e8ne dans un parl\u00e9-chant\u00e9 en roue libre.<\/p>\n

Les satisfactions sont cependant nombreuses du c\u00f4t\u00e9 de la distribution\u00a0:\u00a0Magdalena Ko\u017een\u00e1<\/a>\u00a0(Waitress) se montre tr\u00e8s \u00e0 l\u2019aise dans son r\u00f4le (tant sc\u00e8niquement que vocalement) qui utilise \u00e0 bon escient de g\u00e9n\u00e9reux et solides graves.\u00a0Lucy Shelton<\/a>\u00a0(Teacher) r\u00e9v\u00e8le une pr\u00e9sence et un parl\u00e9-chant\u00e9 \u00e9mouvants. Quant \u00e0\u00a0Vilma J\u00e4\u00e4<\/a> (Marketa), elle interpelle avec sa voix d\u00e9licieusement \u00e0 la limite du lyrique, de la pop et du chant traditionnel finlandais. Pour ces deux derni\u00e8res, les r\u00f4les ont d’ailleurs \u00e9t\u00e9 \u00e9crits sur mesure.<\/p>\n

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\u00c0 l’issue de l’ouvrage, il reste une question\u00a0: que peut, dans notre monde, l\u2019op\u00e9ra face \u00e0 l\u2019actualit\u00e9 et l\u2019image qui nous en est habituellement donn\u00e9e\u00a0? La tentative de la musique et du livret d\u2019hisser le fait divers \u00e0 la hauteur de la trag\u00e9die contemporaine est absolument louable. Mais il faudrait rester attentif \u00e0 l\u2019id\u00e9e que l\u2019op\u00e9ra aujourd\u2019hui ne se perde pas dans un prosa\u00efsme o\u00f9 cette translation du drame vers la trag\u00e9die n\u00e9gligerait ce suppl\u00e9ment d\u2019\u00e2me qui rel\u00e8ve, peut-\u00eatre, d\u2019une exp\u00e9rience de transcendance. \u00c0 quand une nouvelle tentative sc\u00e9nique de lever le secret de cette\u00a0Innocence\u00a0<\/em>?<\/p>\n<\/div>\n

Look more: Bachtrack<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Cr\u00e9ation mondiale au Festival d’Aix-en-Provence. Ce n\u2019est pas rien. L\u2019op\u00e9ra\u00a0Innocence\u00a0de\u00a0Kaija Saariaho\u00a0a enfin vu le jour cet \u00e9t\u00e9. De ce qu\u2019il nous est permis de d\u00e9voiler sans r\u00e9v\u00e9ler\u00a0le d\u00e9nouement,\u00a0Innocence, c\u2019est l\u2019histoire d\u2019un repas de mariage qui se d\u00e9roule devant nous et, en parall\u00e8le, des personnages viennent pour nous fournir, on le comprend, l\u2019historique d\u2019un drame survenu […]<\/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-18706","post","type-post","status-publish","format-standard","hentry","category-media"],"acf":[],"yoast_head":"\nInnocence \u00e0 Aix-en-Provence : Saariaho cultive le secret - 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-a-aix-en-provence-saariaho-cultive-le-secret\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Innocence \u00e0 Aix-en-Provence : Saariaho cultive le secret - Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"og:description\" content=\"Cr\u00e9ation mondiale au Festival d’Aix-en-Provence. Ce n\u2019est pas rien. L\u2019op\u00e9ra\u00a0Innocence\u00a0de\u00a0Kaija Saariaho\u00a0a enfin vu le jour cet \u00e9t\u00e9. 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