In front of a Gaveau room entirely committed to their cause, Christina Pluhar and her baroque ensemble, the Arpeggiata, sat in front of the elegant openwork wooden organ case that adorns the famous Parisian room, which has just fallen into the producer’s pocket. Jean-Marc Dumontet, who bought the brand and the business for 8 million euros.
Is the public aware that this historic 1,000-seat building (classified since 1992), dedicated to classical music since its creation in 1907 and known for its acoustics, will soon have to share space with “acoustic concerts of headliners, one-on-one and comedy”as stipulated in HE Figaro on October 24, the fifty-year-old director of Molières, already joint owner of five Parisian theaters (Bobino, the Théâtre Antoine, the Théâtre Libre, Le Grand Point Virgule and Le Point Virgule)?
lament in love
Headlining, alone (or not) on stage, humor (and tragedy) precisely characterize the route of the Arpeggiata, as demonstrated by the evening dedicated this October 28 to Wonder Womantitle of the album released last May by Erato/Warner Classics. A tribute to the Italian composers of the 17th century.my century (Barbara Strozzi and Francesca Caccini are the best known), as well as women of character, heroines, saints, witches, supernatural figures and simple mortals, at the intersection of traditional music from Italy and Latin America (Mexico).
A red-haired high priestess dressed in a long toga, Christina Pluhar is installed with her theorbo (a type of lute) to the right of the harpsichord of Marie van Rhijn (also an organist), which is completed in a semicircle by the theorbist Miguel. Rincón (also guitarist), the percussionist David Mayoral, the double bassist Leonardo Teruggi, with his beautiful face of Christ a la Dürer, the baroque violins of Kinga Ujszaszi and Jorge Jiménez, and the expressive cornet à bouquin (from the Italian mouth“mouth”) by Doron Sherwin, a wind instrument that includes the scholar Marin Mersenne, in his universal harmony of 1636, compared the sound “to the brilliance of a ray of sunlight, which appears in shadow or darkness ».
The concert started with The Strozza by Maurizio Cazzati, slender music, whose slower central part prepares the resumption of the fout dialogue between violins and cornet. It was up to the soprano Céline Scheen, with prosodic art and dramatic intensity, to open the ball of tears with the fiery Che yes puo rate, by Barbara Strozzi, a loving lament carried by a stubborn bass. A painful immobilization that will require the release of the corpses in a frenetic Apulian tarantella.
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