|Country / Pays : Management : WORLD|
Vocalists : Tenors
Gilles Ragon étudie le chant auprès de Nicolaï Gedda et Gary Magby. C’est avec la musique ancienne et baroque qu’il débute sa carrière en 1984, interprétant et enregistrant Médée de Marc-Antoine Charpentier et Atys de Lully sous la direction de William Christie, Alcyone de Marin Marais, Platée de Jean-Philippe Rameau avec Marc Minkowski, Alceste de Lully et Platée dirigé par Jean-Claude Malgoire ou bien encore Armide de Lully avec Philippe Herreweghe.
Gilles Ragon studies singing with Nicole Fallien, Nicolaï Gedda and Gary Magby. It is with the early and baroque music that he started in 1984, performing and recording Médée by Marc-Antoine Charpentier and Atys by Lully under the baton of William Christie, Alcyone by Marais, Platée by Jean-Philippe Rameau with Marc Minkowski, Alceste by Lully and Platée conducted by Jean-Claude Malgoire or Armide by Lully with Philippe Herreweghe. Curious and concerned to mix styles and types, Gilles Ragon has directed his voice’s evolution towards Mozart and performs now with the same great facility the XIX century and contemporary repertories. In this way, we hear him in the roles of Vincent in Mireille by Gounod, in Lakmé by Léo Delibes with Nathalie Dessay and he is Le Chevalier des Grieux in Manon and Werther (title role) from Massenet, Hoffmann in Les contes d’Hoffmann, Don José in Carmen. The international critic notices him in Raoul de Nangis in Les Huguenots, from Meyerbeer in Liège, also Bénédict in Béatrice et Bénédict by Berlioz in Bordeaux and Strasbourg. Nobody will forget his Julien in Louise’s Charpentier in Marseille at the sides of José Van Dam and also his Faust in La Damnation de Faust and Matto in Salammbô by Reyer. As far as the contemporary repertory is concerned, Gilles Ragon created of Philippe Fénelon, Les Rois in Bordeaux and Faust in Toulouse, he sangs Lulu (the painter) and Wozzeck (Andres) by Berg, Vanessa by Samuel Barber in Metz and Kullervo by Sallinen in Nantes without forgetting The Turn of the Screw, The Rape of Lucretia, A Midsummer night’s Dream, Peter Grimes’s Benjamin Britten and his Tom Rakewell of Stravinsky’s The Rake’s Progress. His first approach from Wagnerian repertory was the role of Mime in Siegfried, two following years, for which he obtained a huge success, then he sang Matteo in Arabella by Strauss in Toulouse and Liege that made him remarked as now having a future in this repertory. Transformed try with the success of his Tannhäuser in Bordeaux. With the pianist Jean-Louis Haguenauer, he performs Lieder and French melodies (recitals in Théâtre du Châtelet, Salle Gaveau, French National Library (BNF), Flâneries musicales de Reims, in Los Angeles, Midis of Capitole, in Studio Bastille….). They recorded together melodies and duets by Berlioz with the baritone Didier Henry and a CD about Schumann Dichterliebe and Beethoven An die ferne Geliebte (SAPHIR PRODUCTION). Besides about thirty recordings devoted to the early music, his discography is composed of Le Pays by Guy Ropartz (TIMPANI, first world recording) with the Orchestra of Luxembourg, Das Lied von der Erde by Mahler with the E.O.C and Daniel Kawka (SELENA) and his duets for tenor A doi tenori with Bruno Boterf (EMPREINTE DIGITAL). Among his future projects : Faust by Philippe Fenelon in Palais Garnier, L’attaque du Moulin by Alfred Bruneau in Metz, Don José in Carmen , Pelléas in Pelléas et Melisande in Japan, Max in Freischütz in Saint Etienne, Hauptmann in Alban Berg’s Wozzeck in Marseille and Eleazar in La juive by Halevy in Stuttgart.
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|jeudi 17 avril 2014|