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ANNIVERSARY
John Eliot Gardiner Eight decades and five centuries For nearly sixty years John Eliot Gardiner has been conducting orchestras around the world and a choir, his Monteverdi Choir, an instrument not at all old – always younger. On April 20, his birthday will be a celebration of music, without borders between Verdi and Monteverdi, Mozart and Elgar, Berlioz and Bach. BY IVAN A. ALEXANDER
auditorium and ensured the recreation world of a lost mass. Or the baton of the light muses which drew from the Wiener Philharmoniker a Merry Widow, an España by Chabrier, a Tourbillon-Galopp by Lenner promised at the New Year's Concert that we are still waiting for . Or the celebrant of a Bach Millenium in two hundred cantatas inaugurated the week of Christmas 1999.
Oratorios by Haydn, requiems by Britten, Fauré, Verdi, symphonies by Beethoven, Schumann, Brahms, psalms by Victoria, Vivaldi, Lili Boulanger, dances by Rachmaninov, Dvorak, operas by Mozart, Bizet, Stravinsky, songs by Kurt Weill, poems by Elgar… each time at the heart of the matter, spending nights auscultating 1I
the autograph score of Pelléas et Mélisande, the letters of Bach, the plan of the Viennese formations, the archives of the French Revolution.
Elusive, inexcusable, the man nevertheless has a style. Tiger in the studio, cat in concert, the clear and round gesture detecting the tiny creature through the polyphony, irresistible swing. Which we are going to follow by saluting his nine historical muses, before going to meet him.
MONTEVERDI It all begins on Thursday March 5, 1964. A mounted student from his native Dorset has put together a choir without a model.
Adult and mixed choir revealed in the nest of cherubs that made Cambridge famous: King's College Chapel.
Admitted to university to learn history and classical Arabic, the young man did not discover choral art. As a child, he sang British folklore as a family, Janequin, Palestrina. At the age of eighteen, he had trained some fifteen comrades in the Middle East, whom he led as if he had always known the art of uniting voices. But today, the hour is serious. On the program: Monteverdi's Vespers, a work he once discovered on the radio, and which he heard as young as he was, sonorous, Latin, dramatic, contrary to local customs.
This audacious chorus will be called Monteverdi. Monte verdi signs that don't deceive - isn't John Eliot
LILIYA © OLKHOVAYA
Élysées at the end of the 20th century, you may have thought that our maestro's If you frequented the Théâtre deswas Champs cherished composer Gustav Mahler. Symphony No. 4 on February 2, 1994 with the Hamburg NDR, of which he was then "musical director". Next concert, April 17, 1998: Song of the Earth (and Sinfonietta by Janacek) with the National Youth Orchestra. And what was the nearby record store selling? Lieder eines fahrenden Gesellen with Anne Sofie von Otter. However, at the same time, depending on whether you visited London, Vienna or Paris, John Eliot Gardiner remained the apostle of Monteverdi, the master of the Handelian choir, the champion of Berlioz whose Symphonique Fantastique he brought back to his native