{"id":841,"date":"2024-05-30T12:59:10","date_gmt":"2024-05-30T12:59:10","guid":{"rendered":"https:\/\/christophetalmont.com\/?page_id=841"},"modified":"2024-08-05T19:34:27","modified_gmt":"2024-08-05T19:34:27","slug":"prensa-orquesta","status":"publish","type":"page","link":"https:\/\/christophetalmont.com\/fr\/prensa-orquesta\/","title":{"rendered":"Prensa Orquesta"},"content":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” bg_type=”image” parallax_style=”vcpb-default” bg_image_new=”id^1108|url^http:\/\/christophetalmont.com\/wp01\/wp-content\/uploads\/2024\/07\/fondo_prensa_01.jpg|caption^null|alt^null|title^fondo_prensa_01|description^null” bg_image_repeat=”no-repeat” bg_img_attach=”fixed” bg_image_posiiton=”100% 100%” z_index=””][vc_column][vc_empty_space height=”200″]

<\/div>

Revue de presse<\/h2><\/div><\/div>[vc_empty_space height=”30″][vc_column_text]<\/p>\n

CHEF D’ORCHESTRE<\/span> \/ CHEF DE CH\u0152UR<\/span><\/a><\/h3>\n

[\/vc_column_text][vc_empty_space height=”50″][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/3″]

Mozart, R\u00e9quiem y Sinfon\u00eda n\u00ba 35<\/h3><\/div>
<\/p>\n

Un chef valeureux et surdou\u00e9.<\/p>\n

\u2013<\/strong><\/span><\/p>\n

Le Proven\u00e7al <\/strong><\/span><\/p>\n

<\/div> <\/div> <\/div> [\/vc_column_inner][vc_column_inner width=”1\/3″]

Herv\u00e9, Les Chevaliers de la Table ronde<\/h3><\/div>
<\/p>\n

La partition est rondement men\u00e9e par l\u2019Orchestre National Avignon-Provence sous la baguette p\u00e9tulante de Christophe Talmont, qui fait lui-m\u00eame spectacle tant il s\u2019investit \u00e0 la t\u00eate de la phalange.<\/p>\n

\u2013<\/strong><\/span><\/p>\n

Classiqueenprovence, Genevi\u00e8ve All\u00e8ne-Dewulf<\/span><\/strong><\/p>\n

<\/div> <\/div> <\/div> [\/vc_column_inner][vc_column_inner width=”1\/3″]

Herv\u00e9, Les Chevaliers de la Table ronde<\/h3><\/div>
<\/p>\n

L\u2019ex\u00e9cution musicale tr\u00e8s soign\u00e9e et \u00e9quilibr\u00e9e de Christophe Talmont dans la fosse donne beaucoup de satisfactions tout du long.<\/p>\n

\u2013<\/strong><\/p>\n

ConcertoNet.com, Florent Coudeyrat<\/strong><\/p>\n

<\/div> <\/div> <\/div> [\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/3″]

Reynaldo Hahn, L'Amour masqu\u00e9<\/h3><\/div>
<\/p>\n

Sous la direction experte de Christophe Talmont, l\u2019Orchestre National de Lorraine, l\u00e9ger et plein de finesse, d\u00e9ploie de belles couleurs feutr\u00e9es.<\/p>\n

\u2013<\/strong><\/p>\n

Concertclassic.com, Bernard Niedda<\/strong><\/p>\n

<\/div> <\/div> <\/div> [\/vc_column_inner][vc_column_inner width=”1\/3″]

Offenbach, La Belle H\u00e9l\u00e8ne<\/h3><\/div>
<\/p>\n

Christophe Talmont donne de la partition du \u00ab\u00a0Mozart des Champs-\u00c9lys\u00e9es\u00a0\u00bb une ex\u00e9cution d\u00e9licate, avec de belles nuances et des contrastes, faisant la part belle aux finales endiabl\u00e9s.<\/p>\n

\u2013<\/strong><\/p>\n

Concertclassic.com, Bernard Niedda<\/strong><\/p>\n

<\/div> <\/div> <\/div> [\/vc_column_inner][vc_column_inner width=”1\/3″]

Offenbach, La Grande Duchesse de Gerolstein<\/h3><\/div>
<\/p>\n

Christophe Talmont se passionne pour l\u2019\u0153uvre d\u2019Offenbach et sa direction d\u2019orchestre traduit incontestablement l\u2019int\u00e9r\u00eat qu\u2019il porte au compositeur. Ses tempi rapides sont toujours s\u00fbrs et il veille, avec efficacit\u00e9, \u00e0 l\u2019\u00e9quilibre et au fondu des instruments.<\/p>\n

\u2013<\/strong><\/p>\n

Op\u00e9rette, Christian Jarniat <\/strong><\/p>\n

<\/div> <\/div> <\/div> [\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/3″]

Offenbach, Fantasio<\/h3><\/div>
<\/p>\n

Le chef d\u2019orchestre Christophe Talmont fait merveille \u00e0 la t\u00eate de l\u2019Orchestre de Tours et d\u00e9gage avec finesse les \u00e9tats d\u2019\u00e2me contradictoires du compositeur.<\/p>\n

\u2013<\/strong><\/p>\n

Op\u00e9rette<\/strong><\/p>\n

<\/div> <\/div> <\/div> [\/vc_column_inner][vc_column_inner width=”1\/3″]

Raoul Moretti, Un soir de r\u00e9veillon<\/h3><\/div>
<\/p>\n

A la baguette, Christophe Talmont a fait lui aussi un remarquable travail musical et cela se sent parfaitement dans la finesse avec laquelle il accompagne chaque protagoniste dans sa parfaite ad\u00e9quation du style de l\u2019\u0153uvre, dans la qualit\u00e9 de chacun des instrumentistes, et dans le rythme qu\u2019il imprime \u00e0 la partition.<\/p>\n

\u2013<\/strong><\/p>\n

Op\u00e9rette, Christian Jarniat <\/strong><\/p>\n

<\/div> <\/div> <\/div> [\/vc_column_inner][vc_column_inner width=”1\/3″]

Lehar, La Veuve Joyeuse<\/h3><\/div>
<\/p>\n

L\u2019orchestre Symphonique de Tours et les ch\u0153urs de l\u2019Op\u00e9ra sont plac\u00e9s sous la direction de Christophe Talmont qui fait entendre la partition de Lehar dans tout son \u00e9clat et son raffinement.<\/p>\n

\u2013<\/strong><\/p>\n

Op\u00e9rette, Didier Roumilhac <\/strong><\/p>\n

<\/div> <\/div> <\/div> [\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”50″][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” bg_type=”image” parallax_style=”vcpb-default” bg_image_new=”id^1108|url^http:\/\/christophetalmont.com\/wp01\/wp-content\/uploads\/2024\/07\/fondo_prensa_01.jpg|caption^null|alt^null|title^fondo_prensa_01|description^null” bg_image_repeat=”no-repeat” bg_img_attach=”fixed” bg_image_posiiton=”100% 100%” z_index=””][vc_column][vc_empty_space height=”200″][vc_empty_space height=”30″][vc_column_text] CHEF D’ORCHESTRE \/ CHEF DE CH\u0152UR [\/vc_column_text][vc_empty_space height=”50″][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/3″][\/vc_column_inner][vc_column_inner width=”1\/3″][\/vc_column_inner][vc_column_inner width=”1\/3″][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/3″][\/vc_column_inner][vc_column_inner width=”1\/3″][\/vc_column_inner][vc_column_inner width=”1\/3″][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/3″][\/vc_column_inner][vc_column_inner…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"full_width.php","meta":{"footnotes":""},"class_list":["post-841","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/christophetalmont.com\/fr\/wp-json\/wp\/v2\/pages\/841"}],"collection":[{"href":"https:\/\/christophetalmont.com\/fr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/christophetalmont.com\/fr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/christophetalmont.com\/fr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/christophetalmont.com\/fr\/wp-json\/wp\/v2\/comments?post=841"}],"version-history":[{"count":11,"href":"https:\/\/christophetalmont.com\/fr\/wp-json\/wp\/v2\/pages\/841\/revisions"}],"predecessor-version":[{"id":1435,"href":"https:\/\/christophetalmont.com\/fr\/wp-json\/wp\/v2\/pages\/841\/revisions\/1435"}],"wp:attachment":[{"href":"https:\/\/christophetalmont.com\/fr\/wp-json\/wp\/v2\/media?parent=841"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}