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| Photo: Yoel Levy |
To commemorate the Saison France Israël, Ensemble Barrocade presented the
Israeli premiere of the opéra biblique “David et Jonathas” by Marc-Antoine
Charpentier (1643-1704). This writer attended the performance on November 17th
2018 at the Church of Our Lady of the Ark of the Covenant, Kiryat Yearim, some
10 kilometres west of Jerusalem. Guest conductor/lead violin Patrick
Cohën-Akenine (France) was joined by soloists soprano Einat Aronstein,
countertenor Yaniv D’Or and bass Arnaud Richard (France). Barrocade also hosted
violone player François Poly (France) and Johannes Knoll (Austria/Switzerland) - oboe
and recorder. The Madrigal Singers (conductor: Etay Berckovitch) performed the
opera’s choruses and small ensemble sections.
Charpentier's “David et Jonathas” was commissioned by one of the most
prominent Jesuit schools in France, the College Louis-le-Grand, to take place
together with “Saul”, a play in Latin by Etienne Chamillard, one of the Jesuit
Fathers. Charpentier's libretto, closely allied to the play (now lost) but
independent of it, was by another Jesuit, François Bretonneau. “David et
Jonathas” is what the French Baroque considered a “tragédie en musique” of the
Lullian genre, but this work is stamped with Charpentier’s strong
individuality, his harmonic richness and its affecting pathos. It was first
performed at the College in February 1688, by which time Lully had died and the
stringent ordinances presided over by him affecting theatre music now lifted.
In his program notes, Barrocade harpsichordist Yizhar Karshon draws a
comparison between King Saul’s jealousy of David and Lully’s jealousy of
Charpentier. “David et Jonathas” (1688), of which we heard pivotal sections,
consists of an overture, prologue and five acts, with the focus being on the
portrayal and psychological development of the principal characters. However,
in Act 5 the action comes to the fore as we see Saul beaten in battle and Jonathas
mortally wounded. A striking difference between this biblical-based work and
other French tragédies lyriques is the exclusion of ballet (although it is
not known whether the original performance included dancers); dance was indeed the
mainstay of French Baroque opera.
The scene opens close to Mt. Gilboa between Saul’s camp and that of the
Philistines. From the very first bars of the overture, one is immediately made aware
of Patrick Cohën-Akenine’s vigorous, robust instrumental sound, energizing and
involving throughout. “David et Jonathas” abounds in instrumental
movements, the players' substantial accenting evoking many a lively dance form, with the
instrumental score also endorsing emotions accompanying the course of
events. This rarely-staged sacred tragedy offers so much in the way of
instrumental expression - Charpentier was a master orchestrator- and Ensemble
Barrocade, its members and guest players providing a lush and polished
performance on period instruments, did not disappoint. As to Charpentier’s beautiful
use of woodwind instruments, there was his engaging use of recorders (Shai
Kribus, Johannes Knoll) to highlight the work’s tragedy and grieving in
appealing, plangent utterances. Etay Berckovitch has done outstanding work with
The Madrigal Singers, twenty or so singers possessing some excellent and
interesting voices; the ensemble’s well blended, incisive and finely sculpted
singing added prestige to the performance. One example was the impactful choral
effect of the despairing cries of “Hélas!” (Alas) on Jonathan’s death in Act 5,
Scene 5, each triggered by differing dynamics.
In the role of David (probably sung originally by Charpentier himself)
countertenor Yaniv D’Or’s singing and acting were passionate, committed and
indeed moving in his portrayal of the conflicted, reluctant hero. Portraying
Jonathan (originally sung by a boy) Einat Aronstein was radiant and poignant,
her stable, ample voice communicating the gamut of emotions demanded by the
role. Colouring each gesture of the text with the richness and resonance of his
vocal- and emotional range and his theatrical panache, Arnaud Richard was
authoritative and gripping as Saul, uncompromising and fervent and beset with
suspicion.
The mise en scène was handled by Sharon Weller, who also guided the
soloists in the use of historical gestures. There was no scenery and costumes
were historically acceptable, allowing Cohën-Akenine and the artists to present
the essence of the Old Testament parable in an elegant, ravishing and rapturous
musical account of incorruptible love in all its complications, leaving some
of the age-old questions of it (asked and answered by other productions of the opera) up to
the listener.
Under the musical direction of viola da gamba player Amit Tiefenbrunn,
Barrocade, the Israeli Baroque Collective, was founded in 2007.
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| Amit Tiefenbrunn,Ophira Zakai,Yaniv D'Or,Einat Aronstein (Yoel Levy) |
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