{"id":8949,"date":"2025-05-01T22:25:45","date_gmt":"2025-05-01T20:25:45","guid":{"rendered":"https:\/\/lacourroie.org\/?page_id=8949"},"modified":"2025-05-01T23:19:35","modified_gmt":"2025-05-01T21:19:35","slug":"en-savoir-2025-05-12-13","status":"publish","type":"page","link":"https:\/\/lacourroie.org\/index.php\/en-savoir-2025-05-12-13\/","title":{"rendered":"en savoir + 2025.05.12-13"},"content":{"rendered":"\t\t
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MAI 2025<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Lundi 12 et Mardi 13 \u00e0 20h25<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Magiciennes baroques<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Lucile Richardot \u2022 mezzo-soprano<\/strong>
Jean-Luc Ho \u2022 clavecin<\/strong><\/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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Qu\u2019on les nomme magiciennes, sorci\u00e8res, ou plus joliment enchanteresses, qu\u2019elles soient belles ou laides, jeunes ou vieilles, implacablement cruelles ou charitables, elles n\u2019ont cess\u00e9 d\u2019inspirer les plus beaux vers, les plus belles stances, pourvu qu\u2019elles soient ambigu\u00ebs et myst\u00e9rieuses\u2026
V\u00e9ritables muses des compositeurs baroques, de nombreux op\u00e9ras se sont bas\u00e9s sur leur l\u00e9gende, d\u00e9veloppant des couleurs musicales expressives m\u00ealant extase et ivresse des sentiments. La mezzo-soprano Lucile Richardot, au timbre troublant et g\u00e9n\u00e9reux est accompagn\u00e9e du talentueux Jean-Luc Ho, incarnant la g\u00e9n\u00e9ration montante du clavecin fran\u00e7ais. Sylvie Giroux<\/em><\/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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Programme<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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MED\u00c9E<\/strong><\/span>
HAENDEL
Ouverture d’Ariodante*
\u00ab Dolce riposo \u00bb Teseo (Acte II, sc. 1 – 1713, HWV 9)
CAVALLI \u00ab Dell\u2019antro magico \u00bb Il Giasone (Acte I, sc. 14 – 1649)
DE MACQUE Capriccio *
CHARPENTIER \u00ab Quel prix de mon amour \u00bb M\u00e9d\u00e9e (Acte III, sc. 3 – 1693)<\/p>

ARMIDE<\/strong><\/span>
LULLY
Monologue d\u2019Armide (Acte II, sc. 5 – 1686)
D’ANGLEBERT
Passacaille d’Armide (arrangement d’apr\u00e8s Lully, Armide, acte V, sc\u00e8ne 2)<\/p>

CIRC\u00c9<\/span><\/strong>
WEBB Powerful Morpheus, let thy charms
PURCELL Music for a while
COUPERIN La Dangereuse*
DE BLAMONT
Circ\u00e9 (1\u00e8re version, Cantates fran\u00e7aises \u00e0 voix seule avec symphonie et sans symphonie. Livre premier. 1723)<\/p>

* pi\u00e8ces pour clavecin solo<\/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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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tinfos pratiques<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tLucile Richardot<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

\u00a0<\/p>

Lucile Richardot explore d’abord sa voix par les ch\u0153urs d’enfants : aux Petits Chanteurs \u00e0 la Croix de Lorraine d\u2019Epinal, puis \u00e0 la Ma\u00eetrise de Notre-Dame de Paris<\/a>. Elle conserve le lien \u00e0 la musique ancienne en cr\u00e9ant son ensemble Tictactus avec St\u00e9phanie Petibon et Olivier Lab\u00e9 aux th\u00e9orbes, ainsi que la dimension sacr\u00e9e en tant que soliste pour des oratorios.<\/p>

Elle monte sur sc\u00e8ne (parmi les ch\u0153urs) en 2008 avec Cadmus et Hermione<\/a><\/em> de Lully<\/a> mis en sc\u00e8ne par Benjamin Lazar<\/a> avec Le Po\u00e8me Harmonique<\/a> de Vincent Dumestre<\/a> et l’ann\u00e9e suivante, elle cr\u00e9e le r\u00f4le de la premi\u00e8re Tante dans l’op\u00e9ra Yvonne, Princesse de Bourgogne<\/a><\/em> de Philippe Boesmans<\/a> au Palais Garnier<\/a>.<\/p>

Son travail avec John Eliot Gardiner<\/a> (et son Orchestre R\u00e9volutionnaire et Romantique<\/a>) sur les trois op\u00e9ras de Monteverdi<\/a> confirme sa carri\u00e8re internationale, en tourn\u00e9e en 2017, la menant l’ann\u00e9e suivante au Carnegie Hall<\/a> de New York dans un programme Berliozien<\/a> avec Antoine Tamestit \u00e0 l’alto.<\/p>

Elle d\u00e9bute \u00e0 La Scala<\/a> de Milan en 2019 en continuant sa collaboration avec Gardiner, en tant que Junon et Ino (Semele<\/a><\/em> de Haendel<\/a>).<\/p>

Son travail se poursuit sur la voie des collaboration avec des ensembles renomm\u00e9s : Les Arts Florissants<\/a>, Correspondances<\/a>, Pygmalion<\/a>.<\/p>

Elle aborde Le Chant de la Terre<\/a><\/em> de Mahler<\/a>, en version de chambre (arrangement de Reinbert de Leeuw<\/a>), au Festival de Saintes<\/a> 2019. Apr\u00e8s les nombreuses annulations en temps de Covid, elle prend le r\u00f4le de Genevi\u00e8ve (Pell\u00e9as et M\u00e9lisande<\/em><\/a> de Debussy<\/a>) dans la mise en sc\u00e8ne d’\u00c9ric Ruf<\/a>, \u00e0 Rouen<\/a> et au Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es<\/a>. Elle poursuit les explorations de r\u00f4les les deux ann\u00e9es suivantes, avec Cornelia (Giulio Cesare<\/a><\/em> de Haendel<\/a> pour les d\u00e9buts en fosse de Philippe Jaroussky<\/a>), Hippolyta (Le Songe d’une nuit d’\u00e9t\u00e9<\/a><\/em>\u00a0de Britten<\/a>) \u00e0 Rouen<\/a>, puis\u00a0Les\u00a0Mamelles de Tir\u00e9sias<\/em><\/a>\u00a0et\u00a0Le Rossignol<\/a><\/em>\u00a0(Poulenc<\/a>\u00a0et Stravinsky<\/a>) en diptyque au TCE<\/a> . Apr\u00e8s Cupid and Death<\/a><\/em> de Locke<\/a> aux Bouffes du Nord<\/a> et au th\u00e9\u00e2tre de Caen<\/a>, elle aborde \u00e9galement La Pythonisse dans David et Jonathas<\/a><\/em> de Marc-Antoine Charpentier<\/a> mis en sc\u00e8ne par Jean Bellorini<\/a> au TCE<\/a>, \u00e0 Nancy<\/a> puis \u00e0 Lille<\/a> durant la saison 2024\/2025. Elle participe \u00e0 une autre grande co-production : L’Uomo Femina<\/a><\/em> de\u00a0Baldassare Galuppi<\/a> \u00e0 Dijon<\/a>, Caen<\/a>, Versailles<\/a>. Elle d\u00e9bute dans Dialogues des Carm\u00e9lites<\/a><\/em>, dans le r\u00f4le de\u00a0Madame de Croissy, en revenant \u00e0 Rouen<\/a> en janvier 2025. Peu apr\u00e8s, elle remporte une Victoire de la Musique Classique dans la Cat\u00e9gorie Artiste lyrique.<\/p><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tJean-Luc Ho<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

Jean-Luc Ho \u00e9tudie le clavecin, l\u2019orgue et le clavicorde. Aujourd\u2019hui musicien de claviers, il se produit principalement en r\u00e9cital, en France et \u00e0 l\u2019\u00e9tranger. Sa discographie est fid\u00e8le \u00e0 son amour quotidien pour Bach, Couperin, Byrd, Sweelinck\u2026<\/p>

Son attention pour les instruments et les ateliers de facture le conduisent aussi bien \u00e0 s\u2019impliquer dans la renaissance d\u2019un orgue castillan de 1768 (aujourd\u2019hui \u00e0 Fresnes) qu\u2019\u00e0 former sa propre collection d\u2019instruments. Sur cette base, il fonde avec Harmonia Sacra un centre musical de rencontres autour des clavecins \u00e0 Valenciennes : L\u2019H\u00f4tel de Barneville (ouverture pr\u00e9vue 2027).<\/p>

Il a \u00e9t\u00e9 nomm\u00e9 en 2021 aux c\u00f4t\u00e9s de Guillaume Prieur organiste-adjoint de l\u2019orgue historique de la coll\u00e9giale de Dole, dont le titulaire est Pierre Pfister.<\/p>

Artiste-r\u00e9sident du Festival Bach en Combrailles<\/em> (2017-2020) et de la Fondation Royaumont<\/em> (2018-2021), il enseigne depuis 2022 l\u2019accord et les temp\u00e9raments au CNSMD de Paris.<\/p>

Il reste profond\u00e9ment marqu\u00e9 par ses trois ann\u00e9es d\u2019apprentissage avec Blandine Verlet. Il est dipl\u00f4m\u00e9 du CNSMD de Paris (2006) des classes d\u2019Olivier Baumont (clavecin), Blandine Rannou (basse-continue).<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\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<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

MAI 2025 Lundi 12 et Mardi 13 \u00e0 20h25 Magiciennes baroques Lucile Richardot \u2022 mezzo-sopranoJean-Luc Ho \u2022 clavecin Qu\u2019on les nomme magiciennes, sorci\u00e8res, ou plus joliment enchanteresses, qu\u2019elles soient belles ou laides, jeunes ou vieilles, implacablement cruelles ou charitables, elles n\u2019ont cess\u00e9 d\u2019inspirer les plus beaux vers, les plus belles stances, pourvu qu\u2019elles soient ambigu\u00ebs […]<\/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-8949","page","type-page","status-publish","hentry"],"yoast_head":"\nen savoir + 2025.05.12-13 - 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