Les Justes: Pièce en cinq actes by Albert Camus

By Albert Camus

'En février 1905, à Moscou, un groupe de terroristes, appartenant au parti socialiste révolutionnaire, organisait un attentat à los angeles bombe contre le grand-duc Serge, oncle du tsar. Cet attentat et les circonstances singulières qui l'ont précédé et suivi font le sujet des Justes. Si extraordinaires que puissent paraître, en effet, certaines des events de cette pièce, elles sont pourtant historiques. Ceci ne veut pas dire, on le verra d'ailleurs, que Les Justes soient une pièce historique. Mais tous les personnages ont réellement existé et se sont conduits comme je le dis. J'ai seulement tâché à rendre vraisemblable ce qui était déjà vrai…

La haine qui pesait sur ces âmes exceptionnelles comme une intolérable souffrance est devenue un système confortable. Raison de plus pour évoquer ces grandes ombres, leur juste révolte, leur fraternité difficile, les efforts démesurés qu'elles firent pour se mettre en accord avec le meurtre – et pour dire ainsi où est notre fidélité.'
Albert Camus.

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Additional info for Les Justes: Pièce en cinq actes

Example text

Keep the staccati crystalline, like glass; there must be a ping to the sound. Above all, no crescendi; they must all be the same: "Once again, be especially conscious of the final phrase after the staccati: This is once more a summing up and mustn't be slighted. "Later, with the repeated F's, which are almost like fanfares, be certain you keep your tone full. Do not peck at these notes; they are too important: "The most difficult part of this aria is not the staccati to high F; it is the triplets that will make you sweat blood.

Highlight 'era' [was] and 'io' [I]: < previous page page_30 next page > < previous page page_31 next page > Page 31 "Also, on 'per lui vivea' [for him I lived] go straight to the E-flatdon't linger on the Fand make the last phrase'voglio morir per lui' [I want to die for him]rich in feeling, emphasizing the F-sharp of 'morir' and the G of 'per': "With the conclusion of the opening scene, the most difficult part of the aria is behind you, provided you can sing it with a good, long line. It must be calm, tender, and very sustained.

This gives the phrase more drive and makes it more exciting: "Make the repeated G-sharps like a trumpet call: On the last G-sharp, held for two measures, gradually crescendo and then breathe before the final scale. ' If you choose ah, then end the phrase on 'die Liebe': < previous page page_37 next page > < previous page page_38 next page > Page 38 "Incidentally, some singers add an appoggiatura upward to F-sharp before the final note. " < previous page page_38 next page > < previous page page_39 next page > Page 39 Cherubini: Medea Act I: "Dei tuoi figli" "This aria is a killer.

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