FULL La Passion selon Marie (Crelier) Paris 2022 Meloni Galstian Michon Troadec
Information on the Performance
- Work Title: La Passion selon Marie
- Composer: Crelier Louis
- Libretto: Valérie Letellier Libretto Text, Libretto Index
- Venue & Opera Company: Cirque d'Hiver Bouglione, Paris, France
- Recorded: June 5, 2022
- Type: Staged Opera Live
- Singers: Clara Meloni, Juliette Galstian, Sacha Michon, Hoël Troadec, Zoé Vauconsant-Massicotte, Rémi Ortega
- Conductor: Antoine Marguier
- Orchestra: Orchester des Nations
- Chorus: Choeur Lyrica-Opéra, Choeurs de Paris Lacryma Voce,
- Chorus Master: Pascal Mayer, Matthieu Stefanelli
- Stage Director: Valérie Letellier
- Costume Designer: Nathalie Egea
- Lighting Designer: Francois Beraud, Alex Gerenton
Information about the Recording
- Published by: Lyrique en Scène
- Date Published: 2022
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: yessubs, frsubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Quote creliermusic.ch:
The booklet, which is divided into four tables, is inspired by Christian apocryphal writings rejected by the apostolic tradition, mostly Gnostic, which present us with Christ providing esoteric teaching to his disciples after his resurrection. Reserved for decades for the sole reading of specialists, these texts are now better known to a public that has become fond of exotic spiritualities, especially since the theses they defend contain many points in common with some key ideas of the ” New-Age”, current which crosses the occident since about fifty years.
Among them, the central idea developed here making man an instrument of his own salvation without the help of Grace. This point raises the much-discussed and still current question of the Capax Dei, constantly calling into question the legitimacy of a Church as an intermediary, each human being being profoundly “Virgin”, that is to say, carrying within them the possibility to give birth to Christ, to the Word, to the Law.
Above all, the libretto depicts two disciplines of Christ: Mary Magdalene (Myriam of Magdala, the “prostitute”) and Mary, the mother of Jesus. It is around these two figures that the work is concentrated. These two Marys, witnesses of the word of the Risen One and bearer of a message to humanity, are combined in the booklet in order to underline the qualities which unite them and above all the similarity of their mission.
The choice to concentrate on the characters of Mary and Mary Magdalene is a way of emphasizing the primordial role of women in the primitive Church where, endowed with visions, with charisms, they were sometimes considered as messengers interceding between God and the man, an aspect that brings us back to the sometimes unresolved and often thorny problem of their mode of involvement in the various Christian churches today.
Beyond these questions of theological order, the course of the two women translates more simply the accession to a redefinition of oneself, the ecstatic union being only the metaphorical movement of a “dying and resurrecting”, a necessary transformation. to the reappropriation of a specific word ignoring the imposed discourse (The Advent), the passage from a being-in-itself to a being-for-itself (The Transfiguration) prelude here to a being for others (The Passion ).