When you don't know how to start, a quarter of an hour of Boléro can be overwhelming. Fortunately, the National Orchestra of Metz conducted by David Reiland only kept the last rounds of Ravel's saw to introduce the 27th Victoires de la Musique Classique which took place on Friday at the Arsenal in Metz. An edition “of youth and renewal”, “at prime time”, “but also under the sign of transmission between young shoots and renowned artists”, specified the presenters Judith Chaine (France Musique) and Leïla Kaddour (France Télévisions), just to make it clear that we were not going to be left in the lurch with the mummified ghost of Karajan who appears in the televisual unconscious each time the words “classical music” are pronounced. There was even talk of "hard rock, yes you heard right", to evoke the tastes of tenor Kevin Amiel, a precision that launched the evening on the track of audacity, but which no music lover in the room thought of. be offended, Bach being the oldest pornstar in history.
On the stage bathed in orange light, the guests therefore showcased ardor and youth, whether it was the Georgian violinist Lisa Batiashvili in a green dress and Stradivarius Engleman in Tchaikovsky, the Belgian soprano Jodie Devos who enchanted Offenbach or Anna Netrebko, all dressed in white, came to spread the clarity of her fleshy tone in Charpentier. The voice of countertenor Philippe Jaroussky, "entered the Grévin museum and it's not nothing" - which we can still doubt -, flew to the wooded vaults of the Arsenal on Vivaldi's Stabat Mater then on a Danse macabre launched by the violinist Julien Chauvin before the artist leaves with a reward (his 5th), which allows him to cover the whole panel, from Revelation to Victory of honor.
The official monster of the year, the pianist Alexandre Kantorow, winner of the unmissable Tchaikovsky Competition last June, interpreted the finale of Saint-Saëns' Egyptian with his usual relaxation, white shirt put on like an out of shower, on a fast tempo which was pleasant. He took the opportunity to win the best recording as well as the victory of the best soloist of the year and gave an elegant speech, always brilliant and cool, cool because brilliant, brilliant because cool. And the evening continued like a big recess where everyone went to perform a tour de force with relaxation and polished shoes. The voices lathered a little but the spirit was there and a certain casualness resisted the hectic flow of passages of numbers, with for example a Marie Perbost who placed Celine Dion in an air of Rameau's madness before winning the lyrical revelation and to release a superb anti-speech.
Also read Alexandre Kantorow: "When we day, we are in a time that we do not live"
The staging of the event, quite nimble, with in particular overhead cameras that made it possible to see all the yellow and red tape marks in front of which the chamber musicians had to stand, must have exhausted a good dozen editors. Which had to wake up when Gabriel Pidoux, oboist, received the instrumental soloist revelation and launched in his speech "the surprise is real". Then, when Alex Vizorek beat Beethoven, a deaf masturbating virgin in his room in Bonn, in a very beautiful way and in several languages, the room was hilarious.
We will also have learned that we could not organize a classic evening without performing Debussy's Clair de lune - Bertrand Chamayou stuck to it. Then, as in performance halls this season, a representative of musicians (or technicians, often) came to question the public about the condition of artists threatened by the pension reform, for which he was applauded. Finally, to highlight a female conductor, the two presenters asked Alondra de la Parra to direct Danzon, a multi-player neotonal Mexican hit.
The evening had a major surprise in store in the opera singer of the year category: not the third victory for mezzo Karine Deshayes, but the third victory for mezzo Karine Dehayes tied with tenor Benjamin Bernheim, rising star of the vocality, which could not come because retained in Paris to repeat Manon - role which it interpreted in Bordeaux last year. Here is a devilishly welcome vocal parity.
"I feel stupid, I go last, I have no pressure at all," said Camille Pépin, the victorious composer, 29, whose creation The Sound of Trees for clarinet, cello solo and orchestra (released on March 6) was acclaimed. Pépin embodies the ambitious new wave of a generation of composers who free themselves from the linguistic territories between the different schools to bring forward singularities of gestures, timbres or sounds, which we had already heard in a first album. , Chamber Music.
Youth, renewal, passion, yes of course, there was all that for these Victories, despite a certain torpor as we unfolded the slow pieces at the corner of the third hour of the program , and there was especially Alexandre Kantorow, the big winner of the day, to slip fastoche in conclusion of his last speech: "Let's continue to love music, good evening." We'll do that.
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Honours
Best recording: Alexandre Kantorow, piano concertos 3, 4 and 5 by Saint-Saëns (Bis)
Revelation opera singer: Marie Perbost (soprano)
Instrumental soloist revelation: Gabriel Pidoux (oboe)
Instrumental soloist: Alexandre Kantorow (piano)
Lyrical singer of the year: Karine Deshayes (mezzo) and Benjamin Bernheim (tenor)
Composer: Camille Pépin (The Sound of Trees, for clarinet, solo cello and orchestra - in this case that of Picardy)
Victory of honor to Anna Netrebko and Philippe Jaroussky
Tribute to Jessye Norman and Mirella Freni
