Son récif/Le chant d’Ulysse
voice and sound images of a myth

stage concert

A few words
about the diptych

It is a musical performance
in the form of a concert, made up
of two parts (for voice and electro-acoustic music), the theme being Ulysses' encounter with the sirens. The theme presented itself to me in all its modernity, open to new interpretations which the electro-acoustic music could render almost cinematographic: a film without images, a screenplay of sounds,
of spatial effects, a cinema for the ears, a play between the "off screen" and interiority. The vocal score, which in Son récif favors a smooth movement from the classical style to a more contemporary vocality, gives back to the feminine world all the complexity of its inner richness. On the other hand, Le chant d' Ulysse is characterized by its unity, be it through the use of an only language as also by one vocal style, a modality which helps to express a sense of wandering and at the same time, one of determination. In this double counterpoint the eternal conflict between desire and resistance, between the irrational world and that of the conscious will, also finds its own expression.

Jacqueline Ozanne
music by Jacqueline Ozanne

text by
Mara Cantoni
from a dramaturgy by Georges Didi-Huberman

Anne-Marie Lablaude, soprano
Dominique Vellard
, tenor

electric acoustic device
Jacqueline Ozanne
with the collaboration of
Robert Verguet

stage setting and lights by
Mara Cantoni

Sento da un'immensa lontananza
risuonare un mormorio spettrale,
il minaccioso fremito del vento
percorre un pallido orizzonte.
In fondo al vortice del tempo
gridano i rapaci e un canto
come un destino geme,
chiamando e richiamando.

A few words
about Le Chant d'Ulysse

One oscillates constantly, even though Ulysses’ voice is linear.That’s normal, it’s the sea, there are waves, the boat moves. One oscillates because the principal element is not the earth. The winds press on the water, the winds transport sounds in space. All around there is nothing but waves. If we oscillate, it is because there are two sides. A continuous movement makes us pass from one side to the other indefinitely. Two “sides”: what are they about? They, too, oscillate, they shift imperceptibly. Dream and reality... Outside world and inner...
Human and divine... Ulysses and the sirens, the boat and the storm... Sound simulates the phantasmagorical, it plays with the imaginary, with magic, with myth. One oscillates within oneself, a struggle between desire and will, between opposing wills.
Reason and sentiment come into conflict, Ulysses is divided, he loses his center of sound. His story, which only lights up in a dream like a secret desire, in the end is extinguished in the absolute, in nothing,
swallowed by space and time.

Mara Cantoni

... the complicity of Dominique Vellard, founding tenor of Ensemble Gilles Binchois, and Jacqueline Ozanne, composer,
has enchanted the audience gathered in the church of Notre-Dame de Talant...
In the program, Ulysses’ song, for tenor and electric acoustic composition. The text is by Mara Cantoni... (Le bien public, 30 march 2004)
Approaching the myth yet once again and feeling yourself dragged away,
towards an abstract time or towards the time of your schooldays...
Ulysses and the sirens, the power of the sea. An echo that refracts between the words of Homer and Kafka, Joyce and Hugo...
A concert or a witchcraft?
So be it, my greenish underwater stage, that enshrouded the two singers in the Auditorium of Pigna in Corsica,
mysteriously escaped being photographed and I have no trace of it.

The scent of the sea is also
Cantata per il mare and Terras do risco

You also sink into the myth
Lohengrin and Wagner - mito, racconto, musica