Camille Erlanger, Elisabeth Leonskaja, various artists, Peter Perrett, Tyler, The Creator, Fabia Rebordao

• Camille Erlanger
  the witch
  Various soloists, choir and orchestra from the Haute Ecole de musique de Genève, Guillaume Tourniaire (conductor).

The story of an impossible love (between Enrique, the leader of the archers of Toledo, and Zoraya, a Moorish woman who relieves the poor with her own potions) in a context of vengeful religion (the terrible Inquisition of the 16th century).^my century). A score that plays with the masses (choir and orchestra) as much as with the lines (twenty-four solo roles!). Created in 1912, the witchby Camille Erlanger (1863-1919), deserved to emerge from oblivion in a “superproduction”, in the Hollywood sense, of the Haute Ecole de musique de Genève, which perfectly recreates its spectacular dimension during the two and a half hours that it lasts. This opera lasts four acts. Grand, like the last curtain that rises in the ecclesiastical court, or intimate, in the sentimental dalliances of the central couple, Erlanger’s writing is always of great dramatic effectiveness. The performance of the team directed by Guillaume Tourniaire promises to be a milestone, with the noble Enrique of Jean-François Borras, the intoxicating Zoraya of Andreea Soare and, among others, the sulphurous Afrida (a real witch) of Marie-Eve Munger. Pierre Gervasoni

• Elisabeth Leonskaja
  Works for piano
  Piano Sonata, Op. 1, by Berg. Variations for piano, op. 27, by Webern. Three pieces, op. 11, Six small pieces for piano, op. 19, Suite, op. 25, by Schoenberg.

By offering the almost complete piano works of Berg, Webern and Schoenberg in full maturity, “Lisa” Leonskaja places the three composers of the second Vienna School in the exact continuity of the literature that preceded them, giving atonal writing the evidence and the contours of a very Mozartian limpidity. Sound beauty, sense of contrasts, naturalness, the Austro-Russian musician surrounds the sonata noun, feminine—^oh 1of Berg, with an expressiveness bathed in color, while the Variations, op. Webern’s 27, whose abstract serialism could easily dry up the subject, is adorned with surprising lyricism. if he three pieces, op. 11, by Schoenberg, require additional inspiration, the Following, op. 25, between neo-baroque and twelve-tone, releases a magnetic sensation of plenitude, transmitted by the interpreter’s interpretation, both noble and delicate. Marie-Aude Roux

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