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Sonoriser l'opéra : la technique invisible. Entretien avec Jean-Luc Moncel et Eric Alvergnat

Listed author(s):
  • Eliane Daphy


    (LAU - Laboratoire d'anthropologie urbaine - CNRS)

  • Jean-Luc Moncel

    (SCV-Audio - SCV-Audio - Société SCV-Audio)

  • Eric Alvergnat

    (Dispatch - Dispatch - Société Dispatch)

Depuis peu, les spectacles de musique classique et lyrique sortent des théâtres traditionnels et investissent de nouveaux lieux. Après le rock dans les palais des sports, les parcs des expositions ou les stades, l'opéra, à son tour, est atteint de gigantisme. Au P.O.P.B. (Palais Omnisports de Paris Bercy), les trois opéras représentés – Aïda, puis Turandot et Nabucco – font la preuve qu'un tel pari est tenable. Dans la suite de l'article, l'auteure présente la conception du système de sonorisation et les caractéristiques de son utilisation à l'opéra, à partir d'entretiens avec le concepteur et le sonorisateur.

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Paper provided by HAL in its series Post-Print with number halshs-00004070.

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Date of creation: 1988
Publication status: Published in Vibrations. Musiques médias sociétés, Association Vibrations/ distributeur éditions Privat, 1988, 5 (La scène, dir. Louis-Jean Calvet), pp.145-162
Handle: RePEc:hal:journl:halshs-00004070
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