Théâtre du Châtelet – January, 30th.
That was a successful week with three excellent evenings in three very different styles. After the baroque Vivaldi, a ironic and cruel Shostakovich, comes the liturgical Vespro della Beata Vergine By Claudio Monteverdi. I went there back; last welcome to the voice was a strong catastrophy and Oleg Kulik is known to be sulfurous. I was afraid of a new complete manipulation of one of the most beautiful liturgy never composed.
When arriving in front of a theater, big tin with fire inside welcome you under a dark red light and a gigantic painting hanged on the wall. Then, the lobby in that same dark light and staff wearing black orthodox cloths. Actually, it is as you enter St. Mark in Venice; light is flamboyant and dark.
I cannot describe the whole organization built by Kulik. On the program, it is written: “The Experience on the spatial liturgy”. And here we are. This was an experience, not a concert, not a mass. A truly well built and unique experience. Kulik, with Spinosi as conductor, added some bells and noise (rain, walk…) to underline Monteverdi’s music. There is nothing wrong in this reconstruction as it never modifies the music and the whole purpose of this masterwork. It helps it to go further which is one of the motto I am looking for while going to concert. The Tantric monks who sung their so characteristic “Om” during intermission were a fantastic link so that intermission cannot cut you from what started 2 hours before. Kulik created a new version of the Wagnerian Gesaltkunstwerk. That Tantric bass sound can be heard from everywhere in the theater – even in the toilets as mentioned in the program! And bread and salt are not forget as you can have some in the foyer. This was a great communion too.
Of course, this version is not only done for the believers. Kulik added some ironic acts to desacralize but he completely succeeded by building a multi-entry version. Atheist or believers can enter the evening and enjoy it. Actually, I should not say enjoy as we reached another level; I should rather say “live”. As the purpose is only Life.
My only regret was both pantomime actors who walk around the theater; I did not understand their goal and they sometimes disturbed me from the music. But I might understand part of the message as well.
Performers are quite good. I would say Spinosi had to quiet himself from his usual useless mimics as he was between stage and public to conduct musicians placed everywhere in the theater. Nevertheless I still think the Ensemble Matheus is suffering from some musicians weaknesses; I am thinking about the brass.
Singers were really homogeneous but both tenors who sung a prodigiously false Suscepit Istrael. The counter-tenor needs improvement as well. But I strongly appreciated Valérie Gabail, Sylvia Schwartz, Marie Kalinine, Luigi De Donato and Nicolas Testé.
Last point to mention: applauses were not automatic and the musicians and singers left ritually the theater without salutes. They left as monks who prayed and did not come back with large smiles. They participate to this experience with us and went back.
This is what we can call a brilliant blow.
Thank you so much Mr. Kulik. You are definitely not a dog!