For years, the French singer has been lighting up the scenes in her eternally youthful voice. Yet she does not hide the shadow that feeds her illusionist art. She performs this Saturday, January 19th at the Théâtre des Champs-Élysées.
" They think I'm bright and I'm tormented. On stage, I play pure and clear heroines while I see our world with a rather alarmist eye … Is not Sandrine Piau the incarnation of this "comedian paradox" theorized by Diderot? " The magic of opera is largely due to the art of illusion that allows a woman to embody a man (1), to scramble the tracks and break frames, to transport us into a wider universe than ours ". The musician cites the role of Sister Constance of Dialogues of the Carmelites of Poulenc: " I love his faith in life and his faith in God, I who have neither one nor the other ".
Sandrine Piau, the barefoot magician
Tomorrow, at the Théâtre des Champs-Élysées (TCE), a room she knows well, the soprano, along with the Basel Chamber Orchestra, imagined a musical journey in Baroque territory. If Haendel – " he remains my favorite ", She confirms – is on the program, here are also unknown tunes of Leonardo Leo, Nicola Porpora or Johann Adolph Hasse. " At this stage of my career, I am torn between the excitement of novelty and the desire for "comfort"she says, smiling. Between a Mozart, which is so dear and familiar to me, and the very demanding work that requires the learning of a virtuoso page that I approach for the first time. "
Health, instinct and work
To those who marvel at the unbroken freshness of its crystalline tone, its winged highs – " less than before all the same! "- and her bird vocalises, Sandrine Piau, born in 1965, responds without false modesty. " I am lucky to have good health, while my early childhood was fragile. This is the essential, the rest is detail. I also think I have a good instinct: it allowed me to accept what suited me and to refuse some imprudent proposals … And to add that she is a " big worker ", In constant search of deepening of its qualities and correction of its defects. " I would have spent so many years perfecting my diction, where my friend Véronique Gens was remarkable from the beginning … "
A name she quotes with affection like that of the conductor Emmanuelle Haïm (that she finds in the same Parisian room of the Théâtre des Champs-Élysées on April 17) or William Christie, the founder of the flourishing Arts. To this mentor of her young years to which she owes so much, she knew how to resist. Already strong with a strong character, a sharp intelligence.
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