{"id":8482,"date":"2024-12-10T18:22:27","date_gmt":"2024-12-10T17:22:27","guid":{"rendered":"https:\/\/lacourroie.org\/?page_id=8482"},"modified":"2024-12-11T14:52:48","modified_gmt":"2024-12-11T13:52:48","slug":"en-savoir-2024-12-29-30bach","status":"publish","type":"page","link":"https:\/\/lacourroie.org\/index.php\/en-savoir-2024-12-29-30bach\/","title":{"rendered":"en savoir + 2024.12.29-30Bach"},"content":{"rendered":"\t\t
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D\u00c9CEMBRE 2024<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Dimanche 29 \u00e0 20h24<\/strong>
Lundi 30 \u00e0 11h<\/strong>
Petit d\u00e9jeuner (en option) \u00e0 partir de 9h30<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Bach \u2022\u00a0une cantate g\u00e9ante<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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l’Orchestre du Jour \u2022 <\/strong>Alice Pi\u00e9rot<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Ma\u00eflys de Villoutreys \u2022 soprano<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Anne Parisot<\/strong> \u2022 fl\u00fbte traversi\u00e8re
H\u00e9lo\u00efse Gaillard<\/strong> \u2022 hautbois
Alice Pi\u00e9rot<\/strong> \u2022 violon
Fanny Paccoud<\/strong> \u2022 violon
Charlotte Grattard<\/strong> \u2022 violon
Florence Stroesser<\/strong> \u2022 violon
Odile Edouard<\/strong> \u2022 alto
Elena Andreyev<\/strong> \u2022 violoncelle
Elodie Peudepi\u00e8ce<\/strong> \u2022 contrebasse
Freddy Eichelberger<\/strong> \u2022 clavecin
Dominique Serve<\/strong> \u2022 orgue et clavecin<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Plat du jour, menu du jour, phrase du jour, Orchestre du Jour ?
L’Orchestre du Jour<\/strong> est n\u00e9 de la conjugaison d’un lieu, La Courroie, et de l’\u00e9lan d’une musicienne, Alice Pi\u00e9rot; il est n\u00e9 d’un lien, tiss\u00e9 ann\u00e9e apr\u00e8s ann\u00e9e, entre le public de la Courroie et les artistes qui s’y produisent, entre Alice Pi\u00e9rot et les musiciens et musiciennes qu’elle c\u00f4toie, certains, certaines depuis trente ans, n\u00e9 du d\u00e9sir de se retrouver autour d’une partition comme autour d’un feu, entre f\u00eate et c\u00e9r\u00e9monie. Un orchestre qui peut jaillir \u00e0 tout instant parce que les liens sont l\u00e0, solides et confiants.
Intelligence collective, proximit\u00e9 dans ce qu’elle a de plus simple, proximit\u00e9 g\u00e9ographique, proximit\u00e9 de c\u0153ur, l’Orchestre du Jour r\u00e9unit des forces vives pour \u00e9laborer des projets, in situ.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Johann Sebastian Bach<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Cantate 146<\/span><\/strong>
\u2022 Sinfonia
\u2022 Rezitativ – Ach! wer doch schon im Himmel<\/em>
\u2022 Arie – Ich s\u00e4e meine Z\u00e4hren<\/em><\/p>

Concerto pour 2 violons<\/strong> BWV 1043<\/span>
\u2022 Vivace<\/p>

Cantate 21<\/span><\/strong>
\u2022 Aria Seufzer, Tr\u00e4nen<\/p>

Concerto pour Violon et hautbois<\/strong> BWV 1060a<\/span>
\u2022 Allegro et Adagio<\/p>

Cantate 188<\/span><\/strong>
\u2022 Sinfonia<\/p>

Concerto Brandebourgeois n\u00b05<\/span><\/strong>
\u2022 Allegro 1<\/p>

Cantate 115<\/span><\/strong>
\u2022 Aria – Bete aber auch dabei<\/p>

Concerto Brandebourgeois n\u00b05<\/span><\/strong>
\u2022 Allegro 3<\/p>

Cantate 199<\/span><\/strong>
\u2022 Recitativo Ich lege mich in diese Wunden<\/em>
\u2022 Aria Wie freudig ist mein Herz<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Ma\u00eflys de Villoutreys<\/strong> d\u00e9couvre le chant \u00e0 9 ans, au sein de la Ma\u00eetrise de Bretagne (dir. Jean-Michel No\u00ebl). Elle d\u00e9cide de s\u2019y consacrer pleinement apr\u00e8s une Licence d\u2019Italien, et une ann\u00e9e d\u2019\u00e9tudes en Italie, \u00e0 l\u2019Universit\u00e9 de Parme. Apr\u00e8s un cursus au CNR de Rennes (dans la classe de Martine Surais), elle se perfectionne au CNSM de Paris, o\u00f9 elle obtient brillamment son Master en 2011. Elle y aura re\u00e7u les pr\u00e9cieux conseils d\u2019Alain Buet, Isabelle Guillaud, Susan Manoff, Olivier Reboul, Anne le Bozec, ou encore Kenneth Weiss.
Sa voix et son expressivit\u00e9 l\u2019am\u00e8nent rapidement \u00e0 se sp\u00e9cialiser dans le r\u00e9pertoire baroque, qu\u2019elle affectionne particuli\u00e8rement, et de nombreux ensembles renomm\u00e9s lui font confiance d\u00e8s sa sortie du Conservatoire : elle chante ainsi r\u00e9guli\u00e8rement avec Les Folies Fran\u00e7oises (P. Cohen-Ak\u00e9nine), Amarillis (H. Gaillard), la R\u00eaveuse (B. Perrot\/F. Bolton), l’ensemble Marguerite Louise (G. Jarry), Masques (O.Fortin), Acte 6 (S. Hengebaert\/ R. Khalil), pour des r\u00e9citals en formation chambriste. Elle est par ailleurs r\u00e9guli\u00e8rement invit\u00e9e par l\u2019ensemble Pygmalion (R. Pichon) pour des Cantates et Passions de Bach, ainsi que par les Musiciens du Louvre (M. Minkowski), Le Banquet C\u00e9leste (D. Guillon), Le Caravans\u00e9rail (B. Cuiller), L’Escadron Volant de la Reine, l’ensemble Pr\u00e9s de Votre Oreille (R. Pharo)…
Passionn\u00e9e par la musique de chambre vocale, elle explore les possibilit\u00e9s du r\u00e9cital \u00e0 travers plusieurs duos (avec piano, harpe, harpe historique, luth et guitare, ou encore clavecin), abordant ainsi un large r\u00e9pertoire intimiste allant de la monodie accompagn\u00e9e du 17\u00e8me \u00e0 la musique contemporaine. Avec la harpiste Clara Izambert-Jarry, elle s\u2019attache \u00e0 redonner vie au genre si prolifique de la romance.
D\u00e8s ses 12 ans, Ma\u00eflys de Villoutreys interpr\u00e8te des r\u00f4les d\u2019enfants \u00e0 l\u2019Op\u00e9ra de Rennes et fait ainsi ses premiers pas sur sc\u00e8ne, notamment avec Yniold dans Pell\u00e9as et M\u00e9lisande de Debussy en 2001. Au CNSM de Paris, on lui confie plusieurs r\u00f4les mozartiens (Barberina, Pamina). Depuis, elle a chant\u00e9 Amour dans Orph\u00e9e et Eurydice de Gluck, Melia dans Apollon et Hyacinthe de Mozart, puis Clarine dans Plat\u00e9e de Rameau sous la direction de Jean-Claude Malgoire. De 2014 \u00e0 2017, elle est la Coquette de l\u2019op\u00e9ra baroque et contemporain La Double Coquette de Dauvergne et Pesson avec l\u2019ensemble Amarillis (mise en sc\u00e8ne, Fanny de Chaill\u00e9), spectacle cr\u00e9\u00e9 \u00e0 Hong-Kong puis jou\u00e9 dans de nombreuses salles dont Paris (th\u00e9\u00e2tre des Abesses), Charleston et Montclair (USA), Hannover, Arsenal de Metz… En 2019 \u00e0 l’Op\u00e9ra de Lille, elle est la Princesse des Trois Contes de G\u00e9rard Pesson et David Lescot (Prix de la meilleure cr\u00e9ation musicale).
Vivement int\u00e9ress\u00e9e par la cr\u00e9ation contemporaine, elle a ces derni\u00e8res ann\u00e9es collabor\u00e9 avec plusieurs compositeurs : G\u00e9rard Pesson (Trois Contes – La Double Coquette), Ramon Lazcano (Ravel-sc\u00e8nes, au Festival d\u2019Automne 2016, avec l\u2019Instant Donn\u00e9), et Antonio Juan-Marcos (Paesaggi Corporei, avec les Folies Fran\u00e7oises).
Sa discographie vari\u00e9e s\u2019est r\u00e9cemment enrichie de deux nouveaux r\u00e9citals : Romances d\u2019Empire- Sophie Gail en duo avec Clara Izambert (Label CVS), et Judith et S\u00e9m\u00e9l\u00e9 d\u2019Elisabeth Jacquet de la Guerre avec l\u2019ensemble Amarillis (Evidence Classics).
Parmi les projets de cette saison 23-24, elle sera Drusilla dans L’Incoronazione di Poppea \u00e0 l’Op\u00e9ra de Rennes dans une mise en sc\u00e8ne de Ted Huffmann avec le Banquet C\u00e9leste (Damien Guillon), on pourra l’entendre dans des Cantates de Bach avec l’Ensemble Pygmalion (Wien, Bordeaux, Toulouse), et en r\u00e9cital avec la harpiste Clara Izambert-Jarry (Op\u00e9ra d’Avignon, Atelier Lyrique de Tourcoing, Paris Mus\u00e9e Gr\u00e9vin, tourn\u00e9e en Lettonie).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

D\u00c9CEMBRE 2024 Dimanche 29 \u00e0 20h24Lundi 30 \u00e0 11hPetit d\u00e9jeuner (en option) \u00e0 partir de 9h30 Bach \u2022\u00a0une cantate g\u00e9ante l’Orchestre du Jour \u2022 Alice Pi\u00e9rot Ma\u00eflys de Villoutreys \u2022 soprano Anne Parisot \u2022 fl\u00fbte traversi\u00e8reH\u00e9lo\u00efse Gaillard \u2022 hautboisAlice Pi\u00e9rot \u2022 violonFanny Paccoud \u2022 violonCharlotte Grattard \u2022 violonFlorence Stroesser \u2022 violonOdile Edouard \u2022 altoElena Andreyev […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"right-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"disabled","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-8482","page","type-page","status-publish","hentry"],"yoast_head":"\nen savoir + 2024.12.29-30Bach - 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