L'Ode - Conservatoire de Vanves
Rate : 12 € - 20 €
Pien d’amoroso affetto
Marc Mauillon baritenor, Angélique Mauillon arpa dobbia
Giulio Caccini, Jacopo Peri.
Two virtuose singers, two composers about to transform the art of singing.
At the very end of the XVIth century, Firenze is about to celebrate magnificently the wedding of Ferdinand de Medici and Christine de Lorraine. For this event the best singers and instrumentalists are gathered to perform and they will create a completely new musical piece : La Pellegrina’s intermezzi, which leaves behind big polyphonic and contrapuntal compositions of the Renaissance and will give birth to the Baroque area. Emilio de Cavalieri is the musical director and will be assisted by Jacopo Peri and Giulio Caccini. These three musicians are sharing the same belief in a new musical style which aims to give up the polyphonic way of writing for a soloist music, to let an only voice express the feelings from the poem.
As Vicenzo Galilei used to say : «The more voices are singing together, the less we can understand an aria’s meaning and the less its character will move the listeners».
This new music came out in the Florentine camerate which was a reunion of intellectuals, philosophers and musicians. Caccini was twenty years old when he was taking part of the Bardi Camerata. He is fifty when he’s publishing «Le Nuove Musiche», a monodic songbook which is such a success that it will be reprinted twice during Caccini’s life.
In his preface Caccini write : «Music is nothing but text, rhythm, and finally sound and not the contrary... it must be able to penetrate into people’s mind and produce these marvelous effects which the writers admire.»
Jacopo Peri was part of the same intellectual circles than Caccini. He played organ and keyboard instruments a was also a famous singer. We have a few letters from Pietro Bardi which testify to the complicity / competition between the two singers.
Pietro Bardi : «Jacopo Peri, competing with Giulio, achieve the construction of the «stile representative» and avoiding the toughness and archaism which we could hear in Galilei’s musics, smoothed this style together with Giulio and made it able of move the passions of the soul in a very special way, which was made with the time by one and the other. That’s why they got the title of first singers and inventors of this way of sining and composing.»
«Peri had more science and found the way of imitating the familiar way of talking by using few notes and an exemplar precision, il got a famous reputation. Giulio had more elegance in his inventions.»
Several recordings were already devoted to Giulio Caccini and his «Nuove Musiche». A few pieces from Peri are also appearing on recordings about florentine monody.
But it seemed interesting to us to mirror the genius of these two great musicians. To explore two worlds where language and principles of composition are very close but also where sensitivity and the way to touch people’s heart are completely different.
This music was thought to be sung accompanied with just one plucked instrument.
Of course a lot of singers at this time were able to accompany themselves. We want to use our special connection as brother and sister to give this feeling that the voice and the instrument parts are in such a fusion that this «recitar cantando» is as free as it should be if it would be sung and played by the same person.
With his very personal and recognisable voice, french baritenor Marc Mauillon has been exploring 10 centuries of vocal music with insatiable curiosity. Highlights of this season are his debuts as title-rôles in Debussy’s Pelléas (Malmö Opera, Sweden) and Monteverdi’s Orfeo (Opéra de Dijon, France and Gewandhaus Leipzig, Germany) and will sing Pelée in Marais’ Alcione conducted by J. Savall in the Paris Opera Comique. He also created the staged version of Songline, a monodic itinerary, his a cappella solo recital, which was recorded and released by the label Son
an Ero. Another CD came out : Li due Orfei with A. Mauillon presenting early XVIIth century italian monodies from J. Peri and G. Caccini.
Aged 22 he met W. Christie for the 1st edition of his « Jardin des voix » and developed an acknowledged expertise in the baroque repertoire, with, among others, les Arts Florissants, Le Poème Harmonique (V. Dumestre), le Concert d’Astrée (E. Haïm), Le Concert Spirituel (H. Niquet), Les Talens lyriques (C. Rousset), singing Lully (Atys, Armide, Te deum), Rameau (Hippolyte et Aricie, Platée, Grands motets, cantates), Charpentier (Te deum, David et Jonathas, le Reniement de Saint Pierre, Méditations pour le Carême), Campra (Les Fêtes Vénitiennes, cantatas), Monteverdi (Orfeo, Vespro della beata Vergine), Cavalli (Egisto), Purcell (Dido & Aeneas, King Arthur, Fairy Queen, devotional songs), Lambert or Mondonville in places such as Paris Opéra Comique, Opéra de Paris, Théâtre des Champs Elysées, Philharmonie de Paris, Berliner Philhamonie, Theater an der Wien, Wiener Festwochen, De National Opera Amsterdam, Bozar Bruxelles, Barbican London, BAM and Lincoln Center in New-York, Edinburgh Festival, Salzburger Festival, Utrecht Festival... Several productions gave rise to DVDs and CDs.
He also started since 2005 to work with P. Hamon, V. Biffi and A. Mauillon on Machaut’s secular music, especially recording and performing very long monodic lays (L’Amoureus Tourment 2006, Le Remède de Fortune 2009 and Mon chant vous envoy 2013), and shedding a new light on this music. It led him to meet J. Savall and M. Figueras and join Hesperion XXI for many concerts and recordings (Jerusalem, La tragédie
Cathare, Borgia Dynasty, Bal-kan, Erasmus of Rotterdam).
As a « more traditional » opera performer, he sang Mozart (Papageno and Guglielmo), Poulenc (Les Mamelles de Tirésias), Ravel (l’Enfant les sortilèges), Offenbach (La vie Parisienne, Orphée aux enfers, Les Contes d’Hoffmann), Britten (Let’s make an opera), Bernstein (Trouble in Tahiti), Eötvos (Le Balcon), Sahaariao (l’Amour de loin) and created Strasnoy’s Cachafaz and Dupin’s Robert le Cochon.
His recital repertoire shows the same diversity : he recorded with pianists A. Le Bozec and G. Coppola french mélodies and Lieder, and regularly performs early music with harpist A. Mauillon (his sister) small instrumental groups, or solo a cappella. Many music schools invited him to teach master-classes about medieval, baroque or french music, in France and abroad (Moscow, Minsk, Basel, Santander...) and since 2014 he’s a teacher in Pôle Supérieur 93 (Aubervilliers).