mysterious voice. Where is it done at this point to vibrate the soul? She can dive into terror or swoon? You know those famous scenes of time past (of which the cinema has done the relay) that saw the spectators pass out listening to the voice séraphiques. Without a doubt, the sound reproduction does it have mitigated this ecstasy. Once in the a drive, today, in a click, we can find a voice. But nothing will never be worth listening to live, because the physical presence of a stamp is as important as its sound projection. This is why composers who knew how to transfigure the voice could control the hearts.

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Handel, was this one of the great masters of the sensitivity of the Eighteenth century, because he had this alchemy so small (and so sensual) that causes the delight of his audience. Established in London in 1725, shortly after Julius Caesar and Tamerlano, Rodelinda is an opera to the libretto historico-sentimental as it tasted at the time. This plot of love and power is above all a pretext for displays of vocal virtuosity, of which Handel was the master. Broken to this directory, Emmanuelle Haïm has established this work on the boards of Glyndebourne and we offer Paris in a concert version that haendéliens will appreciate.

Love and power.

Another story of love and of power: Maria Stuarda by Donizetti. More than a century has passed (we are in 1835), but the voices continue to fascinate. These plots of romantic desire, here, are the launch ramp for pyrotechnies voice who ask the throats of hardened steel. There is no doubt that the american soprano Joyce DiDonato, one of the best belcantistes of the globe, will alternate between valor and lament. In the Face of it, the presence of Carmen Giannattasio we promises duets of the highest caliber. Finally, it is no coincidence that this opera very feminine to be led by a woman: the Roman Speranza Scappucci.

With Rodelinda , Emmanuelle Haïm continues to explore the Italian roots of Handel. Marianne Rosenstiehll/TCE

Spend even a century and change of mind, of ghosts, of aesthetic… but no voice! György Ligeti (1923-2006) counts among the major figures of Twentieth-century music. With him, the voice illustrates the fears and nightmares of a century, the tragic, far away from the cantilènes of Handel, and Donizetti. His opera Le Grand Macabre is a farce atrocious and grandiose on the end of the world, and his Requiem has a cosmic force that knew how to seduce Stanley Kubrick, to the point that he used it for the scenes hypnotisantes of 2001. The tribute that he reserves the Philharmonie de Paris is – also – necessary to all lovers of the voice.

“Maria Stuarda”, the Théâtre des Champs-Élysées 15, avenue Montaigne in paris (Viii). Tel.: 01 49 52 50 50. Date: 6 dec. 20 h.-Seat: from 5 to 125 €.

“Rodelinda”, Théâtre des Champs-Élysées 15, avenue Montaigne in paris (Viii). Tel.: 01 49 52 50 50. Dates: 10 dec. 20 h.-Seat: from 5 to 85 €.

“Le Grand Macabre”, Philharmonie de Paris, grande salle Pierre-Boulez 221, avenue Jean-Jaurès (Xix). Tel.: 01 44 84 44 84. Date: 7 dec. at 20: from 5 to 25 €.