Jacques Rebotier and his erudite viper’s tongue on stage in the Jura

Jacques Rebotier, in 2019.

“The Omme species, which is the Sole Predator of Others (SPA), is a case. A little particular. » The man − this time with this “h” hated by the author of the text to designate “dominant species” − who makes this observation is also a special case. Writer as much as musician, Jacques Rebotier (76 years old) first appears to us, Sunday June 11, on the intimate stage of the New Gallery of Jambles (Saône-et-Loire), as a formidable actor who handles words and gestures with the earthiness of a Raymond Devos and the impertinence of a Pierre Desproges in an indescribable reading of his against the beastspublished in 2012 (The city is burning).

This Rabelaisian diatribe, which reviews species on the verge of extinction to better set fire to the one, the human, who is responsible for it, will be given again, Sunday June 18, at the end of the Jura Baroque Music Festival in the hamlet of Saint -Romain-de-Roche. The day before, Jacques Rebotier will have proposed, on three occasions, An imaginary visit of the Abbey Museum in Saint-Claude: a wandering in its own way where words and notes tend to merge into an expression that comes from musical theatre. The route will be marked by three Newsone per floor, extracted from the two volumes of sixty-six pieces for “talking musicians” which largely contributed to the notoriety of the composer, and will extend according to words distilled by Rebotier himself.

Spoken text and blown notes

“I take bits of text that I have already written, he explains to us, and I design small scenes according to the place and the works, paintings or sculptures, which are kept there. » The principle, applied in the past, among others, to the Louvre Museum, consists in “make the audience move with the sounds”. Departure in the basement of the museum, an old abbey with ancient foundations, “very dimly lit, it will be very mysterious”before the Brief No. 17for tuba, Why do you love me more?, played by Thomas Harrison. We are thus witnessing an extraordinary handover between the spoken text and the blown notes. A real current of phonetic air too: ” I do not care “ first belched, then “I don’t…” buried in the mouthpiece of the instrument.

These News spectacular places Jacques Rebotier halfway between Luciano Berio (for their technical difficulty comparable to that of the famous Sequential by the Italian composer) and Mauricio Kagel (for their scenic bite). On the ground floor, the versatile Thomas Harrison will then perform the Brief No. 22, for serpent (with an instrument lent by the Musée de la musique, in Paris), which is based on one of the rare texts not written by Rebotier and is inspired by a work by Geoffroy Tory, author of the Renaissance, who considers the nature specific to each letter, including on the sound level. For example, the snake’s hiss for the “S” highlighted in this score.

You have 19.5% of this article left to read. The following is for subscribers only.

Leave a Reply

Your email address will not be published. Required fields are marked *