{"id":3941,"date":"2019-09-14T23:58:44","date_gmt":"2019-09-14T21:58:44","guid":{"rendered":"https:\/\/ensembleorfeo.fr\/?p=3941"},"modified":"2021-05-31T13:58:26","modified_gmt":"2021-05-31T11:58:26","slug":"eglise-et-opera-les-liaisons-dangereuses","status":"publish","type":"post","link":"https:\/\/ensembleorfeo.fr\/index.php\/2019\/09\/14\/eglise-et-opera-les-liaisons-dangereuses\/","title":{"rendered":"Eglise et op\u00e9ra : les liaisons dangereuses"},"content":{"rendered":"\n<p>Au XVIII\u00b0 si\u00e8cle en France, la frivolit\u00e9 gagne m\u00eame les \u00e9glises et sur des orgues de plus en plus puissants et color\u00e9s (le Dom Bedos de Bordeaux par exemple), la musique des op\u00e9ras et ballets participe \u00e0 l\u2019office religieux.&nbsp;<\/p>\n\n\n\n<p>Apr\u00e8s Jean Gilles inspir\u00e9 par Lully, on entendra (c\u2019est une premi\u00e8re r\u00e9gionale) deux pi\u00e8ces anonymes en latin, issues d\u2019un Te Deum de 1744 et calqu\u00e9es sur 2 ch\u0153urs de \u00abCastor et Pollux\u00bb et des \u00abIndes galantes\u00bb de Rameau. Orfeo chantera son cher Mondonville avec des extraits du \u00abDominus regnavit\u00bb mais aussi une temp\u00eate de l\u2019op\u00e9ra \u00abIsb\u00e9\u00bb, encore in\u00e9dit.<\/p>\n\n\n\n<p>L\u2019organiste explorera les couleurs de l\u2019instrument \u00e0 travers des pi\u00e8ces de Cl\u00e9rambault et Marchand, et des airs, entr\u00e9es et menuets transcrits de Destouches et Rameau. L\u2019orgue comme on l\u2019entend rarement&nbsp;!<\/p>\n\n\n\n<p>Les \u0153uvres vocales seront enrichies d\u2019un ensemble instrumental&nbsp;: Isabelle Duluc et Amandine Calige (violons), Paul Rousseau (violoncelle) et Martin Tembremande (orgue positif).<\/p>\n\n\n\n<p><strong>Concert mardi 1<sup>er<\/sup>octobre 2019<\/strong> &#8211; <strong>Eglise Ste Croix de Bordeaux<\/strong><\/p>\n\n\n\n<p>avec <strong>Louis-No\u00ebl Bestion de Camboulas (orgue)<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><em>Programme :<\/em><\/strong><\/p>\n\n\n\n<p><em>Orgue&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong>Andr\u00e9 Cardinal Destouches<\/strong><\/em><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ouverture de l\u2019op\u00e9ra \u00ab&nbsp;Les \u00c9l\u00e9ments&nbsp;\u00bb<\/p>\n\n\n\n<p><em>Ch\u0153ur&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong>Jean-Baptiste Lully<\/strong><\/em><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ch\u0153ur des Trembleurs&nbsp;<em>(Isis)<\/em><\/p>\n\n\n\n<p><strong><em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Jean Gilles&nbsp;<\/em><\/strong><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Motet \u00ab&nbsp;Velum Templi&nbsp;\u00bb sur le m\u00eame th\u00e8me<\/p>\n\n\n\n<p><em>Orgue<\/em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong><em>Jean-Philippe&nbsp;Rameau<\/em><\/strong><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Air pour Z\u00e9phyr&nbsp;<em>(Les Indes galantes)<\/em><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Air tendre&nbsp;<em>(Dardanus)<\/em><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Entr\u00e9e des Incas&nbsp;<em>(Les Indes galantes)<\/em><\/p>\n\n\n\n<p><em>Ch\u0153ur&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong>2 extraits du Te Deum anonyme de 1744 sur des airs de Rameau&nbsp;<\/strong><\/em><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;\u00ab&nbsp;Quae gemitus&nbsp;\u00bb&nbsp;<em>(Castor et Pollux)<\/em><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;\u00ab&nbsp;Sperate&nbsp;\u00bb&nbsp;<em>(Les Indes galantes)<\/em><\/p>\n\n\n\n<p><em>Orgue<\/em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong><em>Louis-Nicolas&nbsp;Cl\u00e9rambault<\/em><\/strong><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Grand plein Jeu<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Fugue<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;R\u00e9cit de cromorne et de cornet s\u00e9par\u00e9s<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Dialogue sur les grands jeux<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<em>(Extraits de la 1\u00e8re suite pour orgue)<\/em><\/p>\n\n\n\n<p><em>Ch\u0153ur&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/em><strong><em>Jean-Joseph de Mondonville<\/em><\/strong><em><\/em><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ch\u0153ur de la temp\u00eate&nbsp;<em>(Grand motet \u00ab&nbsp;Dominus regnavit&nbsp;\u00bb) &#8211; Voix de femmes<\/em><\/p>\n\n\n\n<p><em>Orgue<\/em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong><em>Jean-Philippe&nbsp;Rameau<\/em><\/strong><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Les Tendres Plaintes<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Musette&nbsp;<em>(Plat\u00e9e)<\/em><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Menuets<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Air pour les Gladiateurs&nbsp;<em>(Les Surprises de l\u2019Amour)<\/em><\/p>\n\n\n\n<p><em>Ch\u0153ur&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/em><strong><em>Jean-Joseph de Mondonville<\/em><\/strong><em><\/em><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Introduction et ch\u0153ur du tonnerre &nbsp;<em>(Pastorale \u00ab&nbsp;Isb\u00e9&nbsp;\u00bb)<\/em><\/p>\n\n\n\n<p><em>Orgue<\/em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong><em>Louis Marchand<\/em><\/strong><\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;R\u00e9cit<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Fonds d\u2019orgue<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Tierce en taille<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Dialogue&nbsp;<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<em>(Extraits du Premier Livre d\u2019orgue)<\/em><\/p>\n\n\n\n<p><em>Ch\u0153ur&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/em><strong><em>Jean-Joseph de Mondonville<\/em><\/strong><em><\/em><\/p>\n\n\n\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Ch\u0153ur d&rsquo;entr\u00e9e\u00a0<em>(Grand motet \u00ab\u00a0Dominus regnavit\u00a0\u00bb)<\/em><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"27\" src=\"http:\/\/ensembleorfeo.fr\/wp-content\/uploads\/2018\/03\/separateur-60px-300x27.jpg\" alt=\"\" class=\"wp-image-682\" srcset=\"https:\/\/ensembleorfeo.fr\/wp-content\/uploads\/2018\/03\/separateur-60px-300x27.jpg 300w, https:\/\/ensembleorfeo.fr\/wp-content\/uploads\/2018\/03\/separateur-60px.jpg 659w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Au XVIII\u00b0 si\u00e8cle en France, la frivolit\u00e9 gagne m\u00eame les \u00e9glises et sur des orgues de plus en plus puissants et color\u00e9s (le Dom Bedos de Bordeaux par exemple), la musique des op\u00e9ras et ballets participe \u00e0 l\u2019office religieux.&nbsp; Apr\u00e8s Jean Gilles inspir\u00e9 par Lully, on entendra (c\u2019est une premi\u00e8re r\u00e9gionale) deux pi\u00e8ces anonymes en &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/ensembleorfeo.fr\/index.php\/2019\/09\/14\/eglise-et-opera-les-liaisons-dangereuses\/\" class=\"more-link\">Continuer la lecture<span class=\"screen-reader-text\"> de &laquo;&nbsp;Eglise et op\u00e9ra : les liaisons dangereuses&nbsp;&raquo;<\/span><\/a><\/p>\n","protected":false},"author":40,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3941","post","type-post","status-publish","format-standard","hentry","category-non-classe"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - 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