Operanight

Romancero Gitano - Cristina Hoyos

Les Follies Bergères – February, 11^th. 2009

 

Cristina Hoyos is great flamenco dancer. I liked her Carmen very much and went to his farewell – or not farewell as nobody really knows.

 

She wants to tell us a story, Romancero Gitano by Federico Garcia Lorca. This is a violent story which reminds the Civil War. All the elements are there: a brutal Guardia Civil, anticlericalism, arbitrary arrest, mother love, boys’ violence… And the Lorca’s poetry.

 

I am not convinced by the result. Does flamenco can become a structured choreography? Can flamenco accept a structure with written dance steps? Is liberty not basically required? I have too much respect with Cristina Hoyos to answer. But I was not sensitive with this. Some moments are pure chef d’oeuvre, but the whole performance annoyed me seriously. I liked the irony of the dancing nun, I liked the apparition of Cristina herself at the very end. She is 62 year old and still attracts all glances as she is Cristina: her hands and fingers fascinated me indeed. But, please, Cristina, come back to liberty.

Lifar/Petit/Béjart

Garnier, Paris – February, 9^th. 2009

 

One of the few highlights of the ballet season this year. I take this opportunity to mention this season was very poor with a pitiful Ballet National de Chine, the failure of Les Enfants du Paradis and a so uninteresting Raymonda.

 

There, three masterpieces by some of the best dancers of the Ballet de l’Opéra National de Paris.

It begun with what could be a charming classical Suite en Blanc. Lifar succeeded in creating an incredible mixture of very classical choreography with stunning modernization. Dorothée Gilbert, Alessio Carbone and Christophe Duquenne were excellent in their Thème Varié. The Cigarette by Aurélie Dupont let us going back to Toulouse Lautrec. The Adage by Delphine Moussin and Benjamin Pech is a pure moment of happiness. The Flûte by Laëtitia Pujol is treansanding. And the Final which buckles up where we begin remains a so intelligent act of closing: everything is said and nothing needs to be added.

 

Then, with L’Arlésienne by Roland Petit, you are traveling to Provence in a second, from the décor and the costumes But with traditional dance steps as well. Clairemarie Osta is dancing a so attaching Vivette: we suffer we her not be loved by her fiancé. Frederi (Jérémie Bélingard) is dancing pathos as I rarely saw it evolving in a world he dislikes, looking for her absent Arlésienne. Final suicide let you without any hope on your seat.

The Boléro by Maurice Béjart was danced by Nicolas Le Riche. This is absolute performance: 16 minutes of very active dance, almost alone. That is a pure moment of beauty mixed with tribalism, violence, spirituality. That is one my dance favourite and I could not applause.

 

A key evening!

Fra Diavolo - D.F.E Auber

Opéra Comique, Paris – February, 4^th. 2009

This is not my favourite repertoire and I was reluctant with this after last season’s failures. But the achieved result is interesting in a way. No, I still consider this is not my “cup of tea”, indeed, as an opera. Auber composed it well but I think there is a strong lack of substance in the music and the dialogues.

As it remains a light opera, so are my expectations.  The singers offer a homogeneous contribution with the strong exception of Antonio Figueroa as Lorenzo who is obviously suffering to have any strength in his voice – and not to mention his acting which reminds me old fashioned statufied singers.

Sumi Jo as Zerline is acceptable and looks, at least, happy to sing there. Nevertheless nobody can believe in her role: she is not the Italian very young girl. She is quite well pronouncing French but again she belongs to those hooting group of singers who needs an over-pronounced vibrato to hide their technical defects.

The couple Lady Pamela (Doris Lamprecht) and Lors Cockburn (Marc Molomot) looks excellent in their role and becomes very funny. The other couple by both “brigands” formed the same asset of this production.

 

Fra Diavolo by Kenneth Tarver makes me think of Luis Mariano: same diction, same attitudes, same glance… I liked him as much as one can like this opera… I am pretty sure is an excellent singer when having “real” repertoire. To be checked!

Jérôme Deschamps proposed a come back to what he did when he was director for his theater company: same kitsch décor, bottles and their noise…  Nevertheless singers’ direction was at its minimum without strong innovation. This was a professional, honest work. We might expect more.

Vespro della Beata Virgine - Claudio Monteverdi

Théâtre du Châtelet – January, 30^th.

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!

Lady Macbeth of Mtsensk - Shostakovich

Opéra Bastille – January, 29^th 2009

Last time I was so enthusiast was for Tristan und Isolde by Peter Sellars with Waltraud Meier, Ben Heppner and Esa-Peka Salonen. I was enthusiast thanks to the singers and the orchestra. I was enthusiast with the director as well even if I had few remarks. There, I have nothing to say. They reached perfection.

Martin Kusej made an exact and precise stage direction. None of its singers direction looks false. Every gesture helps the action to go further. Then he gives emphasis when needed and never adds useless artificial tricks so that the whole work is never betrayed. Thank you so much Mr. Kusej.

The singers? What a cast! I cannot mention all of them as they are all the right people at the right place. Of course few special mention: Ludovit Ludha as Zinovy and Michael König as Sergei. Another mention for the Sonietka by Lani Poulson; this is a small role but her voice is the needed one. Anyway, there are all excellent singers but actors too.

And here is THE mention for Mademoiselle Westbroek. She incarnates Katerina. She IS Katerina as Waltraud IS Kundry or Isolde. The role is long, difficult, exhausting but she will be absolutely brilliant from the beginning to the end. Mademoiselle, please, comes back more often in Paris.

The orchestra: as usual, the Orchestre de l’Opéra de Paris is a very good one when it is conducted by a strong and real conductor. Haenchen belongs to them. He is living the performance and adjusted every group of instruments. Shostakovich music is shining and exploding in his hands.

That is a masterpiece served by the exact cast (conductor, director, singers and orchestra).

My only regret is for some of the choir members (4 of them only). They obviously decided not to act as asked and they polluted the performance with their presence. The worse: they were at the first rank at applauses.

Ercole sul Termondonte - Vivaldi

January, 28th 2009 - Théâtre des Champs Elysées Paris

That was a vibrant scenic version thanks to an almost perfect cast and a quite exquisite orchestra.

First mentions and great thanks to Vivica Genaux (Antiope) who begun the evening in her Dea di Delo virtuoso aria without any difficulties. And finished it as she begun it. Then Roberta Invernizzi because her Ippolita was gracious anf firm. Romina Basso whose Teseo got the basses which suit with her name! And, of course, a gala-evening Alceste by Philippe Jaroussky - the only one wearing his diner jacket!

Carlo Vincenzo Allemano was a difficult Ercole; I did not feel him entirely invaded by his role even if the song is there. Emmanuela Galli as Orizia looked neutral among this cast.

Two problems: Stefanie Iranyi who waked up at the very end - her voice was vealed all the evening long. And please, Stefanie, listen to Romina Basso's basses; it might help. Filippo Adami lost everything: an unsightly and false voice throughout the evening.

Fabio Biondi is jumping but should sometimes conduct his Europa Galante. Actually I still do not understand this trend for Baroque conductor to play their instrument while they should conduct. Spinosi is doing so; nobody is conducting the orchestra and it looks obvious. With Biondi, we never know. There is an obvious presence but we sometimes might expect better sounds and ensembles! Above all, his alto part with Jarrousky was never correct. Hopefully Jarrousky sung as if nothing happened around...

Finally an exellent evening in an overcrowded TCE.

Since last time

Since last time, a long year went on. Full of Mortier's things, excellency at the TCE and in Munich, renewal of the Opera Comique, so-and-so at the Chatelet...

Here are the key souvenirs:

Waltraud Meier first as she is THE Kundry, THE Isolde... She was not able to save the atrocity of the Warlikowsky's Parsifal at Bastille but listen to her - only - was a nirvana, indeed. Then, she came back in the perfect Tristan by Sellars at Bastille as well: the voice is not the one we were used to but she IS Isolde as she truly incarnates her. Conclusion: I am going to Milan and Berlin next months.

Welcome to the Voice at the Châtelet. I thought I had the worse with mortier at the Opéra de Paris. No! Indeed, Choplin offered me the capacity to leave that catastrophy 20 minutes after the curtain opening. There was...nothing. No music, no singers (but three poor real sopranos with a microphone!!!), no direction, no text. Nothing! Hopefully, On the Town, a simple, well organized musical by Bernstein saved the end of last year in this place.

Dido and Aenea by Purcell at the Opéra Comique was a divine surprise. Christie breaths with this music. Singers were all absolutely homogeneous which becomes so rare in Paris. Decors were the one you dream of. And Deborah Warner's direction another must.

But let's go to future...

I am back

I stopped blogging there because of a lack of time...and the addiction to Facebook, perhaps. But those humble "impressions" missed me. So I am back with an English version so that more people can participate.

L'Allegro, Il Penseroso ed il Moderato - Haendel

12 mai 2007 – Garnier

L’une des multiples superbes partitions du génie Haendel aidé de Milton. Avec un duo final anthologique d’émotion et de Vérité.

Dans la fosse, un chef et sa formation dans une version de grand luxe ; maîtrise impeccable de la partition avec les défauts habituels de Christie (la recherche de perfection tue parfois l’émotion et quelques couacs des cuivres). Je mentionnerai bien sûr cette délicieuse idée des chœurs assis dans les premiers rangs d’orchestre (même si l’effet s’estompe peu à peu).

Sur le plateau, quatre chanteurs d’excellents à excellentissimes. Je pense malgré tout en premier lieu à la royale Kate Royal. Belle, d’une sublime élégance, d’un phrasé qui rend tout surtitre inutile. Que ne pouvons-nous entendre plus souvent cette voix en France. La salle tombe en pamoison devant elle et sa présence scénique. Je veux également parler du valeureux Eric Price, jeune soliste du Tölzer Knäbenchor qui ne démérite en rien devant ses trois autre « collègues ».

Mais Dieu sait pourquoi il aura fallu que l’on nous inflige ce nouveau scandale scénique ? Quel est l’intérêt ? Que tirer de ce fatras sans queue ni tête constellé de références toutes plus faciles les unes que les autres sans fil conducteur aucun ? Comment peut-on accepter cette absence de respect du public ? Le pire : tout ceci est voulu, réfléchi, a demandé des mois de travail. Mais osons le dire : si la folie engendre parfois des chefs d’œuvre, la majorité des fous restent à l’asile et ne viennent pas produire leurs pseudo création.

Que tirer de ces gesticulations inutiles ? Que penser de ces pauvres danseurs contraints de s’habiller, de se déshabiller, de faire des tas de vêtements, de les réorganiser ?

Et sur ces écrans, quoi de neuf ? Rien, les mêmes images battues et rebattues cent fois, dans le même format.

Arrêtons cette hypocrisie pseudo intellectuelle. Cette production ne vaut pas un kopeck, n’apporte rien et devrait partir dans l’oubli. Nous sommes à des années lumières du génie d’un Orphée et Eurydice par Pina Baush ou de la sublimissime version de Tristan et Isolde dont la modernité et la vraie recherche apportaient autant à l’œuvre elle-même qu’à la progression de chacun indépendamment de l’œuvre.

J’attends avec impatience le scandale Traviata qui se profile à grand pas désormais.

PS : le programme, en page de couverture, mentione le nom de cette "chorégraphe" mais pas celui de Haendel. Quelle tristesse !

L'Affaire Makropoulos - Janacek

11 mai 2007 – Bastille

Voici une soirée qu’il m’est très difficile de commenter : je n’apprécie pas le moins du monde cette partition qui me semble criarde et sans queue ni tête. Je le sais, beaucoup vont hurler et je me discrédite mais, que dire…

Alors comment faire un billet ? En disant que tout ce petit monde chante formidablement bien ? En m’étonnant d’avoir plutôt apprécié cette mise en scène, ces costumes, ces décors alors que je craignais le pire compte tenu des dégâts infligés l’année dernière par ces mêmes comparses à notre Iphigénie ?

Mais cette musique m’ennuie.

Alors je passe…