{"id":30475,"date":"2019-05-29T15:06:14","date_gmt":"2019-05-29T13:06:14","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=30475"},"modified":"2024-06-27T15:11:36","modified_gmt":"2024-06-27T13:11:36","slug":"faure-sob","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/disques\/2019\/05\/faure-sob","title":{"rendered":"Lo spirito pi\u00f9 o meno segreto di Faur\u00e9"},"content":{"rendered":"
\"\"
Orchestra sinfonica di Basilea. Foto: Benno Hunziker<\/figcaption><\/figure>\n

Nonostante il titolo in inglese, il CD Il Faur\u00e9 segreto <\/em>offre una bella retrospettiva di opere fin-de-si\u00e8cle, comprese alcune meno conosciute, ma tutte fedeli all'anima profondamente francese di Gabriel Faur\u00e9. L'autenticit\u00e0 sembra essere garantita dalla riproduzione di un paesaggio marino di Eug\u00e8ne Boudin. L'esecuzione di questo corpus \u00e8 affidata all'Orchestra Sinfonica di Basilea, diretta da Ivor Bolton, al Coro femminile Balthasar-Neumann e a due rinomati solisti, che utilizzano come guida la recente edizione critica di B\u00e4renreiter. Caligola<\/em>, Shylock <\/em>e P\u00e9n\u00e9lope<\/em>. Eppure, nonostante l'esistenza di innumerevoli passaggi di grande bellezza, manca qualcosa di essenziale in questa interpretazione di Faur\u00e9.<\/p>\n

Se da un lato l'acustica ultra-spaziosa del Goetheanum di Dornach conferisce un suono arioso e seducente ai magnifici assoli dell'orchestra, dall'altro gonfia il tutti e interferisce con la trasparenza. Sebbene le onde stazionarie in questa sala siano tecnicamente meglio controllate rispetto a quelle di un recente CD di Beethoven, spesso creano uno spessore che maschera le sottili sfumature dell'orchestrazione e rende difficile la comprensione dei testi cantati dal coro femminile e dai due solisti. \u00c8 vero che la dizione delle consonanti non sembra essere la preoccupazione principale di Olga Peretyatko, che pronuncia il francese a modo suo, pur godendo dei voli lirici. La voce ricca e ben articolata del tenore Benjamin Bruns in Shylock<\/em> pone pochi problemi. Con una lente di ingrandimento per leggere i testi, stampati in piccolo nel libretto a favore di fotografie a doppia pagina, scopriamo la bellezza dei testi e delle sette strofe che il soprano non canta.<\/p>\n

L'interpretazione di Faur\u00e9 richiede la costruzione graduale e instancabile di una visione architettonica a lungo termine, in cui ogni frase, lunga o breve, deve preparare la strada per la successiva. In questo CD, le opere orchestrali soffrono talvolta di una leggera sovrainterpretazione che fa precipitare l'attenzione sull'immediato, senza sostenere sufficientemente la struttura e mantenere il respiro. Per di pi\u00f9, il Caligola <\/em>guadagnerebbe in forza se riducessimo le pause tra i movimenti, e Pell\u00e9as e M\u00e9lisande<\/em> non avrebbe avuto bisogno di tre secondi di silenzio tra le prime due frasi! Meglio delle parole, l'ascolto della versione di Ernest Ansermet, registrata con il Preludio<\/em> da P\u00e9n\u00e9lope <\/em>cinquantasei anni fa (Decca\/Eloquence), \u00e8 una perfetta illustrazione della naturale sobriet\u00e0 che si ritrova anche in Armin Jordan e in un'intera tradizione di direttori d'orchestra francesi. S\u00ec, se lo spirito di Faur\u00e9 \u00e8 ancora inafferrabile, non \u00e8 affatto segreto...\"\"<\/p>\n

\n

Il Faur\u00e9 segreto. Brani e suite orchestrali. Olga Peretyatko, Soprano; Benjamin Bruns, Tenore; Balthasar-Neumann-Chor; Sinfonieorchester Basel; Leitung Ivor Bolton. Sony classical 19075818582 <\/em><\/p>\n

Il Faur\u00e9 II segreto \u00e8 anche disponibile: Sony Classical 19075936402
\n(Berceuse, Romance, Ballade, \u00c9l\u00e9gie, Masques et Bergamasques, Pavane, Suite d'orchestre) <\/em><\/p>\n

Il Faur\u00e9 III segreto \u00e8 in preparazione. <\/em><\/p>\n<\/div>\n

\u00a0<\/em><\/p>","protected":false},"excerpt":{"rendered":"

Ivor Bolton dirige l'Orchestra Sinfonica di Basilea, i solisti e il coro in un'esecuzione di brani e suite per orchestra. <\/p>","protected":false},"author":1,"featured_media":30476,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1615],"tags":[],"class_list":["post-30475","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-disques"],"acf":[],"yoast_head":"\nL\u2019esprit de Faur\u00e9 plus ou moins 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