Like all the production of this singular and important creator, this homage to Michelangelo’s masterpiece draws its substance from the tension between the assumed use of the force of inherited forms (in this case that of the great Baroque oratorios and classics), and the composer’s harmonic, rhythmic and instrumental originality.

Built on the model of this famous ceiling, in nine scenes corresponding to the nine parts of the fresco, which were projected on a screen above the choir, the work allowed, with its wide variety of instrumental configurations, to hear in majesty the organ of Saint-Eustache, held solidly by Baptiste-Florian Marle-Ouvrard, very fair and expressive soloists (Léa Sarfati and Inès Berlet), the orchestra-workshop Ostinato as well as the immense choir of Meudon, very invested in the interpretation of this demanding music. Chef Adam Vidovic guided his troops with clarity and passion, and the very young cellist Jérémy Garbarg offered, in the overwhelming cello solo preceding the “Serpent d’Airain”, magnificent generosity (June 24).

La Lettre du Musicien, Un oratorio de Stéphane Delplace à Saint-Eustache, Nicolas Darras, 27/06/2017