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Classique / Opéra - Agenda

2 E 2 M


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2 E 2 M - Critique sortie Classique / Opéra


L’ensemble 2 E 2 M s’est choisi cette saison comme « tête d’affiche » le compositeur Franck Bedrossian (né en 1971), qui développe dans ses oeuvres une attitude très engagée et expérimentale face au phénomène sonore, mais aussi un rapport très physique à la musique, que souligne son intérêt pour le jazz ou le rock. Pierre Roullier, directeur artistique de l’Ensemble, serait tenté de voir la musique de Bedrossian comme la meilleure réponse à la Ministre de la Culture Christine Albanel, qui liait volontiers (dans un portrait publié par Libération en juillet 2007) « musique et douceur », citant parmi ses préférences « Vivaldi, Mozart, Tom Waits et Carla Bruni ». Bedrossian est à l’affiche de ce nouveau rendez-vous de la saison parisienne de concerts gratuits de 2 E 2 M avec Tracé d’ombres, une œuvre de 10 minutes pour quatuor à cordes, créée en 2005 à Paris. Au même programme : The viola in my life II, œuvre majeure de Morton Feldman représentant le deuxième « mouvement » d’une série de quatre pièces de même type, conçues au début des années 70 pour alto et petit ensemble de chambre pour l’altiste américaine Karen Phillips ; Cendre pour mezzo et ensemble, une création mondiale de Paul Méfano (fondateur de 2 E 2 M) ; et enfin une autre création pour voix et petite formation de la compositrice grecque Georgia Spiropoulos.
 
J. Lukas
Jeudi 17 avril à 20 h au CNR de Paris (14 rue de Madrid 75008 Paris). Tél. 01 47 06 17 76. Entrée libre.

A propos de l'événement



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A lire aussi sur La Terrasse


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    - Critique

En attendant Godot : Alain Françon dirige, en grand horloger, des comédiens éblouissants

Enfermés dans le lendemain de la veille, [...]


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    - Critique

Alain Françon met en scène « Le Moment psychologique » de Nicolas Doutey : une partition qui enchante

Alain Françon met en scène Le Moment [...]


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    - Critique

TRAIT(s) : un cirque graphique intelligent et sensible composé par Coline Garcia

Rendre l'art accessible au jeune public sans [...]


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