Before closing the 2022 edition of the Festival Radio France Occitanie Montpellier and handing over the keys to his successor Michel Orier*, Jean-Pierre Rousseau shares the results and perspectives of one of the flagship events of the lyrical summer.
After 8 years at the head of the Festival Radio France Occitanie Montpellier, what are the achievements of which you are most proud?
Difficult to say among his children which one we prefer! A few dates perhaps: the revival in 2015 for the 30th anniversary of the festival, a Fantasio sung by Marianne Crebassa, or The Jacquerie of Lalo; in 2016, they Goldberg by Beatrice Rana ou Iris by Mascagni with Sonya Yoncheva; in 2017, the cantata October of Prokofiev with the veteran Fedosseiev and again with Yoncheva Siberia by Giordano; in 2018, the complete 555 Scarlatti sonatas; in 2019, Kremer, Neeme and Krystian Järvi and Ferval with Michael Spyres; in 2020 and 2021, concerts despite the pandemic and 2022 the revelation Jodie Devos in Hamlet tenor version or Eurovision for young musicians.
Do you have any regrets?
No regrets except that of not having been able to quench an inextinguishable thirst for unknown repertoires, like this year on a “So British” theme, of having only glimpsed the richness of the British choral, lyrical and symphonic repertoire. Perhaps also the idea of having a festival orchestra made up of the best young elements in the region.
After a disturbed Sea Symphony (Jodie Devos’ discomfort on stage during the 1st movement) with from left to right, Sibyle Veil, Jean-Pierre Rousseau, Jodie Devos, Gerald Finley, Cristian Macelaru © DR-
What advice would you give to your successor?
I have always refrained from expressing an appreciation for those who have succeeded me in my various positions, even less from giving them advice – unless they ask me for it! In this case, Michel Orier had already succeeded me as director of music at Radio France, he is succeeding me again as director of the Festival. I specify, to avoid misinterpretations, that this transition was prepared and announced in full agreement between us… and of my own free will!
The Festival announces that it wants to refocus on the city of Montpellier. How do you interpret this desire?
It is actually a return to the source: the Festival was founded in 1985 by the will of two men: Georges Frêche, mayor of Montpellier and Jean-Noël Jeanneney, then CEO of Radio France. It then spread to Languedoc-Roussillon, then to the greater Occitanie region from 2017, but the beating heart of the Festival has always remained in Montpellier. What is new in the project announced for 2023-2025 is a massive reinvestment of the forces of Radio France, after several periods of hesitation by the successive CEOs of the Round House as to the advisability of remaining within the Festival.
Isn’t this refocusing conflicting with the wish expressed to renew and rejuvenate the public?
No, on the contrary, I feel the will of the “pillars” of the Festival, the City and the Metropolis of Montpellier, the Occitanie region and of course Radio France to amplify a movement already started, especially since the end of the pandemic. The free admission for those under 30 that I decided this summer for the evenings of the Festival – those which could perhaps alienate or put off the youngest – turned out to be a fantastic accelerator: more than 15% of the public had less 30 years old!
Notwithstanding the health problems that forced you to give up your mandate as director, what are your plans?
It is true that after the heart attack I suffered at the end of last year, the doctors had forced me to stop… by letting me finish the 2022 festival! It must be said that, from a very young age, I have always had positions of responsibility, which I no doubt “took too much to heart” as the cardiologist who operated on me told me! August 1 opens for me a period of great freedom, without constraint. A dear organist friend said to me the other evening in Montpellier: “I don’t see you stopping”. So I don’t stop, and like for example Forum Opera had the kindness, or the unconsciousness, to entrust me with some reviews, I will be freer to devote myself to them more. I would like to “confess” – in the form of podcasts – the conductors that I know well, and perhaps help the reader/listener to better understand the underside of the cards (and the fourths), the making of music.
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