{"id":1893,"date":"2020-03-01T12:53:31","date_gmt":"2020-03-01T12:53:31","guid":{"rendered":"https:\/\/luisnaon.com\/?p=1893"},"modified":"2023-07-10T14:39:12","modified_gmt":"2023-07-10T14:39:12","slug":"sainte-nitouche-la-fille-ni-bien-ni-mal-2002-urbana-22","status":"publish","type":"post","link":"https:\/\/luisnaon.com\/en\/sainte-nitouche-la-fille-ni-bien-ni-mal-2002-urbana-22\/","title":{"rendered":"Sainte Nitouche (la fille ni bien ni mal) (2002) (Urbana 22)"},"content":{"rendered":"<p><b>Saint Nitoca <\/b><strong><em>(Neither good nor bad girl)<\/em><\/strong><\/p>\n<p><strong>For mezzo-soprano, clarinet, saxophone, viola, bandoneon, double bass, piano, percussion and voices (live or recorded).<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Based on writings by <strong>Yves Pag\u00e8s<\/strong><\/span><\/p>\n<div data-carousel-extra='{&quot;blog_id&quot;:1,&quot;permalink&quot;:&quot;https:\/\/luisnaon.com\/en\/sainte-nitouche-la-fille-ni-bien-ni-mal-2002-urbana-22\/&quot;}' id='gallery-1' class='gallery galleryid-1893 gallery-columns-1 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/luisnaon.com\/wp-content\/uploads\/2014\/11\/S\u00e9quence-03.Image-fixe001.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/luisnaon.com\/wp-content\/uploads\/2014\/11\/S\u00e9quence-03.Image-fixe001-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"https:\/\/luisnaon.com\/wp-content\/uploads\/2014\/11\/S\u00e9quence-03.Image-fixe001-150x150.jpg 150w, https:\/\/luisnaon.com\/wp-content\/uploads\/2014\/11\/S\u00e9quence-03.Image-fixe001-50x50.jpg 50w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" data-attachment-id=\"537\" data-permalink=\"https:\/\/luisnaon.com\/en\/sainte-nitouche-la-fille-ni-bien-ni-mal-2002-urbana-22\/sequence-03-image-fixe001\/\" data-orig-file=\"https:\/\/luisnaon.com\/wp-content\/uploads\/2014\/11\/S\u00e9quence-03.Image-fixe001.jpg\" data-orig-size=\"720,576\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"S\u00e9quence 03.Image fixe001\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/luisnaon.com\/wp-content\/uploads\/2014\/11\/S\u00e9quence-03.Image-fixe001.jpg\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n<p>Commissioned by Musique Nouvelle en Libert\u00e9.<em><br \/>\ncopyright G\u00e9rard Billaudot Editeur (2002)<\/em><\/p>\n<p><!--more--><\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"474\" height=\"267\" src=\"https:\/\/www.youtube.com\/embed\/xu1Y5ZBwGQc?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">The musical organization follows the logic of the text. Concordantly, author and composer propose a response alternance between the spoken voice and the musical situations. By its character, it is similar to an opera text hand.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">The prerecorded, and almost radiophonic, spoken text has an explanatory formal function, as a recitative text would have, and Miss Didascalia is the character which adopts it.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">The imbrication of texts from Miss Didascalia and from erotic ads (also voiceover) with the music, arias and laments, emphasises the hiatus in the representation of this imaginary peepshow in which the play\u2019s scene becomes.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">The action in the opera is linked to the story it tells, to this subtle thread over which the music is expressed.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">Here, in <\/span><b>Santa Nitoca<\/b><span style=\"font-weight: 400;\">, delimitation doesn\u2019t exist, everything is concentrated on a single character, with her richness and ambivalences, who has the habit of expressing herself with her body and not with her voice.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">This situation produces scenic moments in the verge between theatre and music, with a strong focus on the sound proper.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">Half way between a song cycle and a sung monologue, the play\u2019s development shows a series of dramatic situations with a chamber opera aroma.<\/span><\/p>\n<hr \/>\n<hr \/>\n<p><strong>Introduction et Complainte 1 <\/strong><em>(int\u00e9rieur)<\/em><br \/>\ninstrumentale et \u00e9lectronique &#8211; Elle place le contexte musical et la texture sur laquelle \u00e9voluera notre h\u00e9ro\u00efne.<\/p>\n<p>Puis\u00a0:<br \/>\nAutour d&#8217;une voix , mobile et pouvant \u00e9voluer sur la sc\u00e8ne<br \/>\nQuatre points fixes (chef &#8211; piano &#8211; percussion et bandon\u00e9on)<br \/>\nQuatre points mobiles (clarinette, saxophone; alto et contrebasse)<br \/>\nQuatre points absents ( les haut parleurs ).<\/p>\n<p><strong>Peep show 1<\/strong> <em>(ext\u00e9rieur)<\/em><br \/>\nsur un fond de blues<br \/>\nUn trio soufflant et l&#8217;alter ego de la voix (l&#8217;alto)<br \/>\nSur fond des trois harmonie temp\u00e9r\u00e9es.<\/p>\n<p><strong>Petites annonces 1<\/strong> <em>(apart\u00e9 &#8211; quasi r\u00e9citatif puis a capella)<\/em><br \/>\nLa voix de Nitouche r\u00e9cite (plainte du tango renouvel\u00e9, Polaco Goyeneche et Piazzolla ultima curda, sommet de musique populaire et musique de chambre) accompagn\u00e9e par des \u00e9chos lointains des enceintes m\u00e2les.<br \/>\nNitouche ferme le bal a Capella.<\/p>\n<p><strong>Peep show 2<\/strong> &#8211; <em>(aria)<\/em><br \/>\nPercussion-Piano-orchestr\u00e9s par les vents sur une litanie de corde solitaire bandon\u00e9on accompagnateur et voix chantante.<br \/>\nIci le blues fait place au rythme et rapidement le madrigal pointe \u00e0 mi-teinte.<\/p>\n<p><strong>Petites annonces 2<\/strong> <em>(o\u00f9 l&#8217;on d\u00e9couvre la nature philologique de Nitouche)<\/em><br \/>\nNitouche se l\u00e2che, collectionne les annonces en langue \u00e9tang\u00e8re &#8220;Heilgymnast&#8221;, &#8220;Signore maturo et pulito&#8221; &#8220;Malado\u00ef mushina vatchkah&#8221;<br \/>\nSurimpression harmonique d&#8217;un quatuor non temp\u00e9r\u00e9 sur un trio bien temp\u00e9r\u00e9.<\/p>\n<p><strong>Complainte 2<\/strong> <em>(triste-int\u00e9rieur)<\/em><br \/>\nVals &#8211; Tango &#8211; vocalit\u00e9 triste Seize ans de trop.<br \/>\n(Vibra saxophone piano) d&#8217;une part<br \/>\n(Saxophone bandon\u00e9on) c\u00e9l\u00e8bre Mulligan Piazzola.<br \/>\n<strong>\u00a0\u00a0 \u00a0<\/strong><br \/>\n<strong>Complainte 3<\/strong> <em>(expansive puis grave)<\/em><br \/>\nLa parole est aux soufflants<br \/>\nLa voix s&#8217;imprime sur le souffle du trio clarinette, saxe et bandon\u00e9on, entrecoup\u00e9e et incit\u00e9e par un rythme d\u00e9compos\u00e9, qui d\u00e9bo\u00eete. Le triste revient, et pour finir avec le monodrame sur un fond de R\u00e9pondeur \u00e9rotique : le mirage \u00e9lectroacoustique, l&#8217;espace se met \u00e0 parler; Une communication transversale et t\u00e9l\u00e9phonique appara\u00eet qui nous \u00e9chappe \u00e0 tous.<\/p>\n<hr \/>\n<p><strong>Sainte Nitouche I<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1893-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_1.mp3?_=1\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_1.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_1.mp3<\/a><\/audio>\n<p><strong>Sainte Nitouche II<br \/>\n<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1893-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_2.mp3?_=2\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_2.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_2.mp3<\/a><\/audio>\n<p><strong>Sainte Nitouche III<br \/>\n<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1893-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_3.mp3?_=3\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_3.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_3.mp3<\/a><\/audio>\n<p><strong>Sainte Nitouche IV<br \/>\n<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1893-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_4.mp3?_=4\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_4.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_4.mp3<\/a><\/audio>\n<p><strong>Sainte Nitouche V<br \/>\n<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1893-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_5.mp3?_=5\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_5.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_5.mp3<\/a><\/audio>\n<p><strong>Sainte Nitouche VI<br \/>\n<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1893-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_6.mp3?_=6\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_6.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_6.mp3<\/a><\/audio>\n<p><strong>Sainte Nitouche VII<br \/>\n<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1893-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_6.mp3?_=7\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_6.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_6.mp3<\/a><\/audio>\n<p><strong>Sainte Nitouche VIII<br \/>\n<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1893-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_8.mp3?_=8\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_8.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/nitouche\/nit_8.mp3<\/a><\/audio>\n<hr \/>\n<div>\n<hr \/>\n<p style=\"text-align: justify;\"><i><span style=\"font-weight: 400;\">Under the warm impulse of Luis Na\u00f3n, this text, in the shape of a script, is the fruit of a paradoxical mechanism from its beginning. The challenge consisted in giving her own voice back to the female character who, ordinarily, is enclosed in a total muteness: the heroine is a Peepshow worker. Her pseudonym (Fingida [mocked] or Finta Nitoca) betrays the occupational hazards: to offer a body as a spectacle to the ambushed glares behind the untinted blind mirrors. To this abstract, unrealized image, as it is an alibi for all the other senses (tact, smell, and mostly audition) we tried to add a sort of aloud stream of consciousness.<\/span><\/i><\/p>\n<p style=\"text-align: justify;\"><i><span style=\"font-weight: 400;\">This intimate singing which, freeing itself, passes through to the other side of the woman-object mirror, conveys many ambivalences: at the same time it is attraction and repulsion, a calling and a rejection, furor and voluptuosity. This singing is also innervated by the sexual identity crisis of our times. It is, finally, inhabited by the contemporary \u201critornellos\u201d of the commercial pseudoerotism; the pink ads, erotic phone calls, etc.<\/span><\/i><\/p>\n<p style=\"text-align: justify;\"><i><span style=\"font-weight: 400;\">It is as if an immense vocal messaging was trying to confine us, to systematize and stereotype \u201cindirect talks\u201d, the desire counterpoints that \u201cNitoca\u201d would have made us barely touch with the tip of her voice.<\/span><\/i><\/p>\n<p><strong>Yves Pag\u00e8s<\/strong><\/p>\n<hr \/>\n<p><span style=\"color: #800000;\"><a style=\"color: #800000;\" href=\"http:\/\/www.luisnaon.com\/wp-content\/uploads\/pdf\/nitouche\/livret.pdf\">Sainte Nitouche. Livret &#8211; .pdf<\/a><\/span><\/p>\n<hr \/>\n<div align=\"center\"><a href=\"http:\/\/www.resmusica.com\/2012\/08\/05\/la-feinte-nitouche-de-luis-naon\/\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.luis-naon.com\/naon\/public\/presse\/resmusica.jpg\" alt=\"\" width=\"200\" height=\"223\" border=\"0\" \/><br \/>\n&gt; Read the article<\/a><\/div>\n<hr \/>\n<p><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"1313\" data-permalink=\"https:\/\/luisnaon.com\/en\/sainte-nitouche-la-fille-ni-bien-ni-mal-2002-urbana-22\/snt_cd_t-2\/\" data-orig-file=\"https:\/\/luisnaon.com\/wp-content\/uploads\/2014\/10\/snt_cd_t.jpg\" data-orig-size=\"100,88\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"snt_cd_t\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/luisnaon.com\/wp-content\/uploads\/2014\/10\/snt_cd_t.jpg\" class=\"size-full wp-image-1313 alignleft\" src=\"https:\/\/luisnaon.com\/wp-content\/uploads\/2014\/10\/snt_cd_t.jpg\" alt=\"\" width=\"100\" height=\"88\" \/>CD Sainte Nitouche &amp; Satellites<\/strong><\/p>\n<\/div>\n<p><span style=\"color: #800000;\"><a style=\"color: #800000;\" href=\"https:\/\/www.clicmusique.com\/naon-sainte-nitouche-sourdillon-vadimova-schereiner-p-9883.html\"><span class=\"dates\">&gt;&gt; Buy the CD<\/span><\/a>\u00a0\u00a0<\/span><\/p>\n<div class=\"alternate\"><strong><span class=\"alternate big\"><strong><span class=\"alternate\">Sainte Nitouche<\/span><\/strong><\/span><\/strong><strong><span class=\"alternate big\"><strong><span class=\"alternate\">\u00a0 recorded by Laurent Compignie at Studio Malambo<\/span><\/strong><br \/>\nLuis Na\u00f3n<\/span><\/strong>, <em>musique<\/em><strong><br \/>\nYves Pag\u00e8s<\/strong>, <em>texte<\/em><strong><br \/>\nAgn\u00e8s Sourdillon<\/strong>, <em>r\u00e9citante<\/em><span class=\"alternate big\"><strong><br \/>\nSylvia Vadimova<\/strong>, <em>mezzo-soprano<\/em><\/span><\/div>\n<div class=\"alternate\"><strong><span class=\"alternate big\"><br \/>\nEnsemble Diagonal<\/span><br \/>\nR\u00e9mi Delangle<\/strong>, <em>clarinette<\/em><strong><br \/>\nG\u00e9raud \u00c9trillard<\/strong>, <em>saxophone<\/em><strong><br \/>\nCyprien Busolini<\/strong>, <em>alto<\/em><strong><br \/>\nSimon Drappier<\/strong>, <em>contrebasse<\/em><strong><br \/>\nMarisa Mercad\u00e9<\/strong>, <em>bandon\u00e9on<\/em><strong><br \/>\nJean Fessard<\/strong>, <em>percussion<\/em><strong><br \/>\nJean-Marie Cottet<\/strong>, <em>piano<\/em><span class=\"alternate big\"><strong><br \/>\nRut Schereiner<\/strong>, <em>direction<\/em><br \/>\n<\/span><br \/>\n<strong><span class=\"alternate\">&amp; Satellites<\/span><\/strong><span class=\"alternate\"><br \/>\nPrises de son :<strong> Laurent Codoul, Camille Lezer \u2013 La Muse en Circuit<\/strong><br \/>\nVersion transaurale des parties \u00e9lectroniques : <strong>Jean-Marc Lyswa \u2013 Conservatoire national sup\u00e9rieur de musique et de danse de Paris \u2013 Service audiovisuel<\/strong><br \/>\nMixage et Mastering : <\/span><strong><span class=\"alternate\">Laurent Codoul<br \/>\n<\/span><\/strong><span class=\"alternate big\"><span class=\"alternate big\"><br \/>\n<strong> Senderos\u2026 que bifurcan<\/strong>, pour saxophone et sons fix\u00e9s (2002 \u2013 2003)<\/span><\/span><strong> Diabolus urbanus<\/strong>, pour alto et sons fix\u00e9s (2000)<\/div>\n<p><strong> Clairi\u00e8re<\/strong>, pour clarinette et sons fix\u00e9s (2002)<\/p>\n<p><strong><span class=\"alternate big\">G\u00e9raud \u00c9trillard<\/span><\/strong><span class=\"alternate big\">, <em>saxophone<\/em><br \/>\n<strong>Cyprien Busolini<\/strong>, <em>alto<\/em><br \/>\n<strong> Philippe Berrod<\/strong>, <em>clarinette<\/em><\/span><\/p>\n<hr \/>\n<div class=\"hr\"><strong><span class=\"alternate\">Sainte Nitouche (la fille ni bien, ni mal)<\/span><\/strong>, commande de Musique Nouvelle en Libert\u00e9.<\/div>\n<p><span class=\"alternate\"><strong>Senderos\u2026 que bifurcan<\/strong>, commande de la soci\u00e9t\u00e9 Selmer. D\u00e9di\u00e9 \u00e0 Claude Delangle.<br \/>\n<strong>Diabolus Urbanus<\/strong>, commande de l\u2019\u00e9tat et de l\u2019INA-GRM. D\u00e9di\u00e9 \u00e0 Ana Bela Chaves.<br \/>\n<strong>Clairi\u00e8re<\/strong>, commande de La Muse en Circuit, Centre national de cr\u00e9ation musicale, avec le soutien<br \/>\nde l\u2019\u00e9tat. D\u00e9di\u00e9 \u00e0 Philippe Berrod. de l\u2019Etat. D\u00e9di\u00e9 \u00e0 Philippe Berrod.<br \/>\nCes trois pi\u00e8ces &#8220;satellites&#8221; restituent un espace \u00e9largi (dit transaural) qui propose une image spatiale proche de l\u2019original<br \/>\nen cinq canaux lorsque l\u2019auditeur se place dans l\u2019axe situ\u00e9 entre les deux hauts-parleurs.<\/span><\/p>\n<p><strong><span class=\"alternate\">Sainte Nitouche (la flle ni bien, ni mal)<br \/>\n<\/span><\/strong><span class=\"alternate\"><em> \u00a9 2002 by G\u00c9RARD BILLAUDOT \u00c9DITEUR<\/em><br \/>\n<strong>Senderos\u2026 que bifurcan URBANA 19<br \/>\n<\/strong> <em>\u00a9 2006 by G\u00c9RARD BILLAUDOT \u00c9DITEUR<\/em><\/span><\/p>\n<p><em><strong><span class=\"alternate\">Distribution<\/span><\/strong><\/em><span class=\"alternate\"><em> Distrart Musique<\/em><\/span><strong><a href=\"http:\/\/sites.radiofrance.fr\/francemusique\/em\/tapage\/emission.php?e_id=18&amp;d_id=515006190&amp;arch=1\"><img decoding=\"async\" src=\"https:\/\/www.luis-naon.com\/naon\/public\/presse\/tapage.jpg\" alt=\"\" \/><\/a><br \/>\n<\/strong><\/p>\n<hr \/>\n<p><strong>La vid\u00e9o de Sainte Nitouche : \u00e0 regarder<\/strong><\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"474\" height=\"267\" src=\"https:\/\/www.youtube.com\/embed\/xu1Y5ZBwGQc?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<hr \/>\n<p><span style=\"color: #800000;\"><a style=\"color: #800000;\" href=\"https:\/\/luisnaon.com\/en\/category\/cycle-urbana-en\/\">[ Urbana Cycle ]<br \/>\n<\/a><a style=\"color: #800000;\" href=\"https:\/\/luisnaon.com\/en\/category\/6-chamber-music\/\">[ Chamber Music ]<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Saint Nitoca (Neither good nor bad girl) For mezzo-soprano, clarinet, saxophone, viola, bandoneon, double bass, piano, percussion and voices (live or recorded). Based on writings by Yves Pag\u00e8s Commissioned by Musique Nouvelle en Libert\u00e9. copyright G\u00e9rard Billaudot Editeur (2002)<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[60,65],"tags":[],"class_list":["post-1893","post","type-post","status-publish","format-standard","hentry","category-cycle-urbana-en","category-6-chamber-music"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sainte Nitouche (la fille ni bien ni mal) (2002) (Urbana 22) - Luis Na\u00f3n \/ compositeur<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/luisnaon.com\/en\/sainte-nitouche-la-fille-ni-bien-ni-mal-2002-urbana-22\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sainte Nitouche (la fille ni bien ni mal) (2002) (Urbana 22) - Luis Na\u00f3n \/ compositeur\" \/>\n<meta property=\"og:description\" content=\"Saint Nitoca (Neither good nor bad girl) For mezzo-soprano, clarinet, saxophone, viola, bandoneon, double bass, piano, percussion and voices (live or recorded). 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