The first concert proposed for the year 2022 by L’Instant Lyrique is entirely devoted to the melodies of Henri Duparc, whose interpretation is evenly divided between Stanislas de Barbeyrac (tenor), Thomas Dolié (baritone) and Julie Pasturaud (mezzo -soprano), with Antoine Palloc at the piano.
Offer all the melodies ofHenri duparc in a single evening (i.e. sixteen out of the seventeen kept: The escape, lyrical duet for soprano and tenor on a text by Théophile Gautier being in fact rejected) is a challenge. Indeed, this admirable ensemble, all imbued with an exacerbated sensitivity and an emotion which constantly hollows out the soul, can appear a little heavy when listening in its full continuity. The texts chosen by Henri duparc indeed reflect the deep pessimism and neurasthenia of a composer who chooses to destroy most of his creative work before painfully withdrawing into himself. This very particular music, quite far from that developed by its colleagues of the time in the register of melodies, is undeniably linked more to the Lied German and the influences of Germanic music so admired by Henri duparc. However, the French touch permeates them with a few moments of lightning and the melodic invention which the composer demonstrates. In Monsieur Croche and other writings, Claude Debussy was to write regarding these melodies: “There is nothing to say since they are perfect”. This judgment applies to the melodies of Duparc the most celebrated, the most successful, like An invitation to travel on a poem by Charles Baudelaire, The Wave and the Bell on a text by François Coppée or the intoxicating Phidyle on a poem by Leconte de Lisle, pieces that the greatest lyrical singers regularly include in their recital programs.
The public salutes here the concerted initiative of the three performers and friends who are certainly passionate regarding these melodies, even if the overall result might appear even more successful. The music of Duparc Indeed requires a lot of introspection on the part of the performer, beyond the strictly vocal difficulties that it displays. At the delicate Salon musical Marguerite in Gaveau, recently inaugurated in recital by Marie-Nicole Lemieux, proximity to the public can facilitate transmission but also exacerbate certain faults or imbalances. Stanislas de Barbeyrac thus deploys a tenor voice full of ardor and lively youth, broad and vibrant, too much even for the Florentine Serenade which takes on the appearance of a grand opera. And the treble tightens when it tries to lighten. His interpretation ofElegy orEcstasy allows him to introduce more nuances, flexibility in his song. Thomas Dolie also attack a little in force with Testament, to then privilege the musical moment and the color with Sad song Where The Wave and the Bell perilous but that his mature dark baritone voice knows how to fully enhance. Julie Pasturaud seems less comfortable than his partners. His warm mezzo-soprano voice does not permeate with the same intensity the melodies entrusted to him as In the land where war is waged Where Phidyle with the too fast tempo, imposed by itself.
To best support these three performers on the perilous and demanding paths ofHenri duparc, Antoine Palloc gives himself up without reserve, patient when needed, more assertive at other times. Without excessively accentuating the drama already widely present in each composition, he shows the fairest path to each performer, the most musically accomplished in terms of expressiveness, entrusting each one to seize it for the best. More than a simple accompanist, Antoine Palloc once once more places himself as a servant of voice and music.
This evening dedicated to melody was warmly received by a very attentive audience who seemed won over.
.
