In a concert aptly titled “bohemian rhapsodies”, combining the learned choir, with around sixty units, and gypsy jazz led by accordionist Marcel Loeffler, seemed like a challenge. This is without counting on the style and audacity of Catherine Bolzinger, who, as with her Voix de Stras – the female group opened the evening – takes on the mix by concocting an eclectic program, in which she puts her stamp on it in an assertive manner.
Let’s start with the ending, since this, highly anticipated, should allow a real fusion of the two worlds. This will ultimately only take place partially, or in a somewhat artificial way. The Loeffler quartet confines itself to coloring the work, through its rhythmicity, through some cleverly measured chorus, or wandering introductions. The approach would benefit from further encouraging moments of dialogue between the sung and instrumental parts, and the arrangement, a real mixture of styles.
Certainly, Black eyes et The two guitars songs from the Russian gypsy repertoire, disorient and fascinate with their originality. And the final Bohemian Rhapsody from the group Queen, is disconcerting as much by the richness of its abundant counterpoint as by its deconstructed aspect. Without equivalent, the version will be debated.
Liszt, the tipping point
This last part seems to be a synthesis of the previous two. Supervising the choir, the quartet, with violin, double bass, guitar and accordion, faces Inga Kazantseva’s piano. The latter brought about the tipping point of the program by playing a Hungarian Rhapsody by Liszt No. 2 that was both authoritarian and airy. It is the perfect link between a fixed scholarly world and the very free gypsy jazz. We savor it for a long time, dedicated in particular to the standards of Django Reinhardt, the violin with the playful flights of Julien Pidancier, and the accordion with the velvety sound of Marcel Loeffler which sometimes seems to marry the arabesques of a clarinet, all to the chords of the guitar and the pizzes of the double bass.
In slightly amplified acoustics, not always in a happy way, since we can hear the crackle of the speakers, the CPS shows in the first part a great capacity for expertise and homogeneity of the music stands in Brahms’s scores – Gypsy songs – and Bartók – Four Slovak songs – even if we largely prefer his interpretation of the German repertoire. A repertoire in which Bolzinger knows how to transcend the popular vein in a firm and precise movement, which gives it its lightness and reveals a soothing light.
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