PHILIPPE JAROUSSKY & THIBAUT GARCIA

When you think of melody, the sounds of the piano come immediately to mind. But this overlooks other strings, plucked here, that reigned majestically in aristocratic salons. The guitar, together with its ancestors the lute and theorbo, wove cultured textures around the voice, creating atmospheres sometimes lunar and sometimes popular (the paradox of this instrument) doing justice to the beauty of the texts set to music. This requires a virtuosity capable of both sonorous opulence and intangible ambients. This is the case of Thibaut Garcia, a young star already in the heavens, a worthy companion of Philippe Jaroussky, whose vocal beauty and imperial singing need no praise.

These two confreres take us on a vast exploration of melody, the subtleties of the English masters (Dowland with the sublime melancholy of In Darkness let me dwell and Purcell of course with the tragic “Dido’s lament”, but also Britten, his direct heir, with the very rare Il est quelqu’un sur terre) to Schubert’s dramatic Erlkönig, from Mozart’s crepuscular Abendempfindung to the Iberian splendour of Granados’ Amor y odio, mirar de la maja, passing through the typically French refinement of a song triptych to Fauré (Au bord de l’eau, Nocturne, Les berceaux), not forgetting of course À sa guitar, a melody by Poulenc which gives the programme its title and in which the composer pays homage to the genius of Ronsard. Philippe Jaroussky and Thibaut Garcia are here incomparable, attentive to the slightest inflection of the texts tackled, in a genuine fusion of words and notes.

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Obras de Dowland, Purcell, Mozart, Schubert, Ravel, Granados, etc..

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