Pretty Yende in majesty on France 5

Pretty Yende in majesty on France 5
Pretty Yende in majesty on France 5

The South African soprano is the special guest of Anne Sinclair, alongside violinist Maxim Vengerov and cellist Sol Gabetta. A new number of “Fauteuils d’école” to be seen this Friday June 14 at 9:05 p.m. on France 5.

Forgotten, the explosive tulip dress in sparkling yellow that she wore to the coronation of King Charles III at Westminster. The organza sculpture designed by Stéphane Rolland in less than ten days has given way to a simple black bustier over a skirt with golden highlights, but the singer has lost none of her shine. From the first flights of the famous “jewellery aria”, taken from Gounod’s Faust, with which she made her entrance onto the stage of the Opéra Comique, the South African soprano captivates with her ease. Its freshness intact. This velvety timbre, which has gained in thickness since its debut in Paris with Rossini… Without losing any of its agility or its communicative hedo nism.

She is like that, Pretty Yende, she always remains so simple. Even if, at 38, the singer is the first from her country to have performed at a British sovereign’s coronation. She was also the one who was named, a few months ago, muse of the house of Dior and had her portfolios in Vanity Fair and Paris Match. She hasn’t changed, still touching as when she started. And this affection for France is seductive. Our country almost saw her debut on an international scale, in 2016, in a Barber of Seville which revealed on the stage of the Opéra Bastille a Rosine more mischievous and feline than ever.

Effort, his best friend

In any case, this is what this new number of “Fauteuils d’ordinatere” reveals, filmed last spring under the auspices of the Opéra Comique in Paris. Pretty Yende returns, at the microphone of Anne Sinclair, on her journey as a singer, born in the gospel atmosphere of the church choirs of South African townships, and converted to opera late in life, after seeing a television spot at the time of adolescence. An extraordinary destiny. But also, as the singer explains, the fruit of long-term work, for the one who knew how to make, in her own words – and according to the recommendation of her singing teacher -, the effort her best friend .

Maxim Vengerov also had to make efforts to return to the highest level, ten years ago, after an injury to the rotator cuff of his shoulder which meant he had to put his Stradivarius aside for more than three years, and to relearn everything after an almost miraculous operation. Efforts, and a morale of steel forged by the years of scarcity and hard work of his childhood in Novosibirsk. With an oboist father and a pianist mother, music was like a religion, he remembers on set. But above all and above all it was a wonderful way to express oneself. If the Russian virtuoso has undoubtedly made expressiveness one of his key assets (as his interpretation of the formidable third movement of the Mendelssohn concerto will demonstrate during the evening), it is a quality that he shares with the cellist Sol Gabetta.

Solar virtuosity

The Argentinian performer, also well known to the French public, whether through her interpretations of our repertoire or her duets with the pianist Bertrand Chamayou, will deliver, in a gesture of solar virtuosity, an irresistible Allegro from rare Concerto No. 2 by Saint-Saëns. A game full of this imagination that she says she owes to her first teacher in Argentina, and to her garden of a thousand colors. Because his cello has no shortage of colors. To be convinced of this, it is enough to see him interact with the Paris Chamber Orchestra. Led by Klaus Mäkelä’s former assistant at the Philharmonie, Sora Elisabeth Lee, the latter demonstrated his great flexibility throughout the broadcast, accompanying soloists and singers in a repertoire ranging from Mendelssohn to Donizetti, including the young Marine Chagnon, member of the brand new troupe of the Paris Opera, delivers an extract from Lucrezia Borgia.

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