Rénovation extérieure du palais Garnier
Paris
Feb.20, 2010
More pictures here.
Showing posts with label garnier. Show all posts
Showing posts with label garnier. Show all posts
Mar 5, 2010
Feb 13, 2010
Sep 28, 2009
Sep 26, 2009
Mireille ressucitée
Mireille
Opéra en 5 actes de Charles Gounod
Livret de Michel Carré d'après Frédéric Mistral
Créé au Théâtre Lyrique le 19 mars 1864
Entrée au répertoire de l'Opéra de Paris, 14 septembre 2009
Mireille - Inva Mula
Vincent - Charles Castronovo
Ourrias - Franck Ferrari
Ramon - Alain Vernhes
Taven - Sylvie Brunet
Vincenette - Anne-Catherine Gillet
Andrelou - Sebastien Droy
Ambroise - Nicolas Cavallier
Clemence - Amel Brahim-Djelloul
Le Passeur - Ugo Rabec
Orchestre et choeurs de l'Opéra de Paris
Conduction - Marc Minkowski
Stage direction - Nicolas Joël
Opéra Garnier Sept.22 performance - gala AROP
There were certainly some in Paris to boo Nicolas Joël's new production (only on the premiere it seems, as in NY). Nobody followed through in the performance I attended though, not even me, though his lack of ideas and actors direction is the only thing one can think of after seeing his production.
But Joël's decision to start his 5-yr contract as director of the Paris Opera by staging this particular piece is so commendable - and Minkowski's conduction is so exquisite one can only thank the man. Finally, after too many years of drought, Gounod is back in Paris. Adios Gérard Mortier...
I can't emphasize enough how extatic I felt when the first notes of the overture emerged and how exquisite the musical execution was. Finally, after too many years of bad treatment - including Plasson's massacre last year in Orange, Gounod's music is fully rehabilitated.
Who can, after hearing this performance, honestly say Gounod is boring and emotionless? It took Mark Minkowski - a baroque's conductor - to unravel all the marvels of Mireille's score.
I had truly never heard this opera played so brilliantly - a magnificent interpretation indeed (why he was also booed on the premiere is beyond comprehension).
And so does it really matter that Joël's staging is unattractive and quite dumb and so desperately true to the libretto ? Not for me.
Beginning of Act I
The piece
Gounod wanted to adapt provensal poet Frédéric Mistral's novel for the lyric stage (he actually composed most of the music while staying in the very places Mistral's story takes place in), but had to adapt to so many demands he ultimately delivered a piece quite different from his original idea.
The huge pressure he got all his life from opera directors and prima donna meant he constantly had to make concessions and give way.
For Mireille, Marie Miolan-Carvalho - wife of the Théâtre Lyrique's director and the soprano who would create the role - told Gounod "Surtout, n'est-ce pas, faites brillant, très brillant, brillant" [Make it shiny, shiny, shiny], so he had to cut most of the dramatic scenes and add light and joyful arias for Mireille.
The score was cut and rewritten again and again after the premiere, and some arias of the original score were lost during the fire of the Opera House.
The version performed in Paris is the one Reynaldo Hahn assembled in 1939 - the closest to the original version.
More on this opera:But Joël's decision to start his 5-yr contract as director of the Paris Opera by staging this particular piece is so commendable - and Minkowski's conduction is so exquisite one can only thank the man. Finally, after too many years of drought, Gounod is back in Paris. Adios Gérard Mortier...
I can't emphasize enough how extatic I felt when the first notes of the overture emerged and how exquisite the musical execution was. Finally, after too many years of bad treatment - including Plasson's massacre last year in Orange, Gounod's music is fully rehabilitated.
Who can, after hearing this performance, honestly say Gounod is boring and emotionless? It took Mark Minkowski - a baroque's conductor - to unravel all the marvels of Mireille's score.
I had truly never heard this opera played so brilliantly - a magnificent interpretation indeed (why he was also booed on the premiere is beyond comprehension).
And so does it really matter that Joël's staging is unattractive and quite dumb and so desperately true to the libretto ? Not for me.
Beginning of Act I The piece
Gounod wanted to adapt provensal poet Frédéric Mistral's novel for the lyric stage (he actually composed most of the music while staying in the very places Mistral's story takes place in), but had to adapt to so many demands he ultimately delivered a piece quite different from his original idea.
The huge pressure he got all his life from opera directors and prima donna meant he constantly had to make concessions and give way.
For Mireille, Marie Miolan-Carvalho - wife of the Théâtre Lyrique's director and the soprano who would create the role - told Gounod "Surtout, n'est-ce pas, faites brillant, très brillant, brillant" [Make it shiny, shiny, shiny], so he had to cut most of the dramatic scenes and add light and joyful arias for Mireille.
The score was cut and rewritten again and again after the premiere, and some arias of the original score were lost during the fire of the Opera House.
The version performed in Paris is the one Reynaldo Hahn assembled in 1939 - the closest to the original version.
- Synopsis - in French
Alain Vernhes and Inva MulaApart from the marvellous job Marc Minkowski did, the orchestra had a great night as well.
The strings were superb, as were the woods and the brass.
The energy coming from the pit was mind-blowing, but the chorus of the Paris Opera did not deliver nearly as good a performance as the musicians did. The change of the chorus master hasn't succeeded in improving the quality of the ensemble - their unison is always somehow off and terribly unstable.
The soloist singers on the other hand were overall interesting - and Charles Castronovo, with his dark yet juvenile timbre made a good impression on me as Vincent.
I was also impressed by Alain Vernhes' Ramon, a rich and colorful voice very expressive, and Anne-Catherine Gillet's Vincenette.
The weakest main character was Franck Ferrari's Ourrias. The acting was vaudeville-esque and pretentious(and I hate vaudeville at the opera), while the singing was mediocre and not really up to the overall level.
Inva Mula's French is not really understandable for anybody, but her singing was decent enough not to ruin Minkowski's view of Mireille.
Overall a great evening for me.
Further reading
- Mireille au palais Garnier, Formalhaut
- Oh Mireille, même à Garnier, tu ne vieillis pas
Sep 23, 2009
Sep 16, 2009
[Mireille review]
Before anyone asks, I will be attending the Sept.22 performance of Gounod's Mireille at the Paris Opera (Garnier). Obviously no review until then...
Aug 28, 2009
Aug 24, 2009
Jun 24, 2009
Demofoonte, part II
First post about the June 16 performance of Demofoonte in Paris (Opéra Garnier) here.III. The staging
On paper, I like where Cesare Lievi went with his sets: a deconstructed Greek temple, where everything is upside down, with slight changes between the acts that focus on small details.
The concept would have worked brilliantly, hadn't it been for the complete lack of any actor's direction, an unimaginative scenography and an horrendous use of the stage.
Basically nothing ever comes to life in this context, and all it does really is focus on the repetitive aspect of Jommelli's music. Not exactly the best way to present his Demofoonte to a public that is not familiar with it. It seems to be a trend among stage directors these days, to do everything in their power to ruin the music and the singing. Muti should never have accepted that...
Salzburg, May 28, 2009
IV. The AROP gala 
In Paris, if you're a wealthy opera geek, the AROP is the select club that will allow you to attend opera performances amongst high-end friends, with a beautiful dinner at the end of the evening, free champagne and canapés during the intermissions, and an Opera House specially decorated for the event.
Obviously this kind of evening is the perfect showcase for your latest designer dress, and you expect men to wear a tuxedo with a neck bow (or if you're a rebel, a tie). Anyway, this is the time to be glamorous among your fabulous friends.
On the down side, this is the night the Opera House is guaranteed not to be filled, because inevitably, some will have better things to do than attend the performance, and their expensive seats will remain desperately empty. Quite a shame, considering the whole run of Demofoonte is full. But hey, when rich and famous, who cares about waste? And who cares about the vulgare pecus?
Anyway, the auditorium was obviously not full, and the public reacted at the end of the performance with the appropriate restraint and elegance: not too much noise and certainly no bravo, this was not the time and place to be exuberant and lavish.
Fortunately, the 4th balcony was packed with ordinary people who were a bit louder and more enthusiastic, but I must say the applause was mainly directed at Riccardo Muti.
Further readings:
- "Les faux débuts de Riccardo Muti à l'opéra de Paris", June 19, Le Monde, M.A.Roux
"Mais qu'allait-il faire dans cette galère ? C'est le sentiment qui domine à l'issue des quatre heures de spectacle consacrées au rarissime opéra napolitain Demofoonte, de Niccolo Jommelli (1714-1774), avec lequel le chef d'orchestre Ricardo Muti a fait, à bientôt 68 ans, ses débuts à l'Opéra de Paris. Car il n'est pas sûr que ce Demofoonte (prochaines représentations au Palais Garnier les 18, 20 et 21 juin) marque durablement la rencontre tant attendue de Paris avec le maestro italien."
- "Le jardin napolitain de Riccardo Muti", Webthea
- "La première française de l’opéra napolitain", June 16, ResMusica, Francesca Guerrasio
The concept would have worked brilliantly, hadn't it been for the complete lack of any actor's direction, an unimaginative scenography and an horrendous use of the stage.
Basically nothing ever comes to life in this context, and all it does really is focus on the repetitive aspect of Jommelli's music. Not exactly the best way to present his Demofoonte to a public that is not familiar with it. It seems to be a trend among stage directors these days, to do everything in their power to ruin the music and the singing. Muti should never have accepted that...
Salzburg, May 28, 2009 
In Paris, if you're a wealthy opera geek, the AROP is the select club that will allow you to attend opera performances amongst high-end friends, with a beautiful dinner at the end of the evening, free champagne and canapés during the intermissions, and an Opera House specially decorated for the event.Obviously this kind of evening is the perfect showcase for your latest designer dress, and you expect men to wear a tuxedo with a neck bow (or if you're a rebel, a tie). Anyway, this is the time to be glamorous among your fabulous friends.
On the down side, this is the night the Opera House is guaranteed not to be filled, because inevitably, some will have better things to do than attend the performance, and their expensive seats will remain desperately empty. Quite a shame, considering the whole run of Demofoonte is full. But hey, when rich and famous, who cares about waste? And who cares about the vulgare pecus?
Anyway, the auditorium was obviously not full, and the public reacted at the end of the performance with the appropriate restraint and elegance: not too much noise and certainly no bravo, this was not the time and place to be exuberant and lavish.
Fortunately, the 4th balcony was packed with ordinary people who were a bit louder and more enthusiastic, but I must say the applause was mainly directed at Riccardo Muti.
Further readings:
- "Les faux débuts de Riccardo Muti à l'opéra de Paris", June 19, Le Monde, M.A.Roux
"Mais qu'allait-il faire dans cette galère ? C'est le sentiment qui domine à l'issue des quatre heures de spectacle consacrées au rarissime opéra napolitain Demofoonte, de Niccolo Jommelli (1714-1774), avec lequel le chef d'orchestre Ricardo Muti a fait, à bientôt 68 ans, ses débuts à l'Opéra de Paris. Car il n'est pas sûr que ce Demofoonte (prochaines représentations au Palais Garnier les 18, 20 et 21 juin) marque durablement la rencontre tant attendue de Paris avec le maestro italien."
- "Le jardin napolitain de Riccardo Muti", Webthea
- "La première française de l’opéra napolitain", June 16, ResMusica, Francesca Guerrasio
Jun 17, 2009
Demofoonte in Paris with Muti
Drama per musica (opera seria) in 3 acts Nicolo Jommelli
Libretto Pietro Metastasio
1770 Napoli version
Demofoonte - Dmitry Korchak (tenor)
Dircea - Maria Grazia Schiavo (soprano)
Timante - José Maria Lo Monaco (mezzo-soprano)
Matusio - Antonio Giovannini (counter-tenor)
Creusa - Eleonora Buratto (soprano)
Cherinto - Valentina Coladonato (mezzo-soprano)
Orchestra Giovanile Luigi Cherubini
Riccardo Muti conducting
Stage direction - Cesare Lievi
Opéra National de Paris
Palais Garnier - Gala AROP
June 16, 2009
Libretto Pietro Metastasio
1770 Napoli version
Demofoonte - Dmitry Korchak (tenor)
Dircea - Maria Grazia Schiavo (soprano)
Timante - José Maria Lo Monaco (mezzo-soprano)
Matusio - Antonio Giovannini (counter-tenor)
Creusa - Eleonora Buratto (soprano)
Cherinto - Valentina Coladonato (mezzo-soprano)
Orchestra Giovanile Luigi Cherubini
Riccardo Muti conducting
Stage direction - Cesare Lievi
Opéra National de Paris
Palais Garnier - Gala AROP
June 16, 2009
Grand escalier décoré pour Demofoonte I. The score
Pietro Metastasio's libretto is quite a success, as things flow with an acute sense of dramaturgy, displaying intricate situations in which characters unfold, with mixed personalities and a certain sense of humour.
In that regard, not only is this libretto quite ahead of his time, it's also a very cohesive and homogeneous piece. Jommelli's music however doesn't have this continuous appeal. The last two acts are rich and audacious for the time, and contain real jewels (Demofoonte's aria in Act II, scene 10 being the highlight of the score for me), but the first act is really disappointing (and terribly long: 1 hour and 15 minutes). It doesn't display the originality Jommelli put in the last two, and all the arias are built on the same scheme: two quatrains.
As for the music, this first act is saturated with da capo (when the aria is a closed loop with a ABA structure). All it does really is allow you to fall into a semi-conscious state of mind where you desperately wait for something unusual to come along - a vain hope in the first act obviously.
Fortunately, the drought ends after the first act, and I must say the transition between boring and exciting was quite astonishing. The second act is the most appealing for me, with once again that sublime aria of Demofoonte in scene 10.
The end of Act III is a bit long, and Muti's choice to conduct the 1770 version is indisputably relevant after hearing the piece (Jommelli cut 8 of the 24 arias in this version!).
The youth orchestra Luigi Cherubini that Riccardo Muti created in 2004 to give back to young Italian musicians was recast in 2008 to allow for new instrumentalists to learn, and to send the original musicians to the real world of professional orchestras around the world.
This Demofoonte production is their biggest work so far, having previously traveled to Salzburg this Spring and heading to Ravenna for this summer.
For such a young group, their performance was phenomenal. They played with poise, finesse, intelligence, sensitivity, passion, at such a level it's hard to figure they're not professionals yet. They responded with verve and perfect accuracy to the conduction of Riccardo Muti.
The strings were brilliant (especially the cellos), the horns were exquisite, and it turned out to be such a shame Jommelli didn't orchestrate his piece for more instruments.
As for the singers, the level was quite unequal - Maria Grazia Schiavo as Dircea was amazing, as was Eleonora Buratta as Creusa (their duet was pretty intense): beautiful breath, perfect placement of the voice, great high, low and middle registers, adequate projection, magnificent phrasing, they simply delivered an outstanding performance.
The rest of the cast I was disappointed by. José Maria Lo Monaco, although an audience favorite, seemed cold and somehow not in the mood for the piece, and her timbre is neither velvety nor coarsed, just unpalatable to my taste.
Dmitry Korchak on the other hand as Demofoonte had gigantic issues with ornamentation and his high register. He's supposed to sing Nadir in Santiago at the end of August, and I feel sorry for Bizet already. His stage presence was not really convincing also, and Cesare Lievi didn't help by not hiding this age (he's way too young for the part).
I also didn't react positively to neither Antonio Giovannini as Matusio nor to Valentina Coladonato as Cherinto. Their performance was mediocre at best, and their technique is not quite yet where it should be (especially the breathing for Giovannini and the high register for Coladonato).
Finally, a few words about Riccardo Muti. Once again, I can only praise the work he's done with this piece. The orchestral bars were all sublime and magical, and that's when you regret Jommelli didn't put as many of those as Gluck. One thing he did do however, is moderately use the recitativo secco and extensively substitute them with recitativo accompagnato, where Muti's input was exquisite. One can only attempt to describe with words what marvels Muti can accomplish with so few notes.
NB. There will be another post about this performance, because I have to talk about the stage direction and this special evening, the AROP gala.
Apr 15, 2009
Opéra National de Paris 2009-2010
Better late than never... Here are my comments about the 2009-10 season of the Paris Opera (Nicolas Joël's first season).
- The season will open with Charles Gounod's Mireille, directed by Nicolas Joël (Sept.14 to Oct.14, Garnier). Clearly not the masterpiece Faust is, this light opera marks at least the comeback of Gounod to the Opéra de Paris. The cast is rather unexciting (Inva Mula, Charles Castronovo and Franck Ferrari in the main roles). Marc Minkowsky will conduct the Paris Opera Orchestra and I must say it is quite a surprise to see him choose such a repertoire. I wonder what reading he has of Gounod.
- The revival of Laurent Pelly's 2006 production of L'Elisir d'Amore is a guaranted sales success, as the cast features Anna Netrebko and Rolando Villazon (Oct.10 to 25, Bastille); the two will also sing in Mozart's Idomeneo in Jan. (Luc Bondy's production from 2006 , Garnier)
- Korngold's Die Tote Stadt is coming in Paris in the Willy Decker's production that premiered in Salzburg in 2004 and has already traveled to Vienna last year and London in February (Oct.9 to 27, Bastille)
- The new production of Bellini's La Sonnambula will surely be the event of the season in Paris, with Natalie Dessay coming back at the Paris Opera for the first time since her Lucias in Oct.2006 (Evelino Pidò conducting, Michele Pertusi as Rodolfo and Javier Camarena as Elvino, Jan.25 to Feb.23, Bastille); Natalie Dessay will also sing the tiny part of Musetta in La Bohème (Oct.29 to Nov.29, Bastille)
- Rossini's La Donna del Lago will allow for the rare opportunity to hear Juan Diego Florez in Garnier (June 18 to 30), with Joyce DiDonato, Daniela Barcellona and Roberto Abbado conducting.
- Other noticeable facts: Rameau's Platée (Laurent Pelly prod., Marc Minkowsky conducting his Choeur et musiciens du Louvre-Grenoble) in December (Garnier); Marcelo Alvarez as Andrea Chénier (Dec., Bastille); Jonas Kaufmann as Werther in Jan. (but unfortunately with Michel Plasson conducting);
- Selected revivals: Corine Sereau's 2002 production of Il Barbiere di Siviglia, Graham Vick's Don Carlo from 1998
Feb 10, 2009
Oct 16, 2008
Pelly's Schicchi
Gianni Schicchi
Music - Giaccomo Puccini
Libretto - Giovacchino Forzano
Opéra de Paris, Palais Garnier (programmed with Ravel's L'Heure Espagnole)
2004 - Mezzo Broadcast
Gianni Schicchi - Alessandro Corbelli
Lauretta - Patrizia Ciofi
Conductor - Seiji Ozawa
Director - Laurent Pelly
In a nutshell, the staging might have worked, hadn't it been for the costumes and sets (and that's even before mentionning the ultimate boredom generated by the lightning).
The libretto being obviously very simplistic doesn't provide for anything but a Labiche-like vaudeville but still. Emphasizing too much the comic elements only proves how little faith Laurent Pelly had in Puccini's music. And the huge nose, "une péninsule"[1], Schicci is disguised with is too much a distraction from this piece - the caricature is so finesse-less it's outragious to Puccini's work.
Furthermore, the fifties atmosphere Pelly chose has been seen so many times in Paris over the recent years it has become almost unbearable. This facette of Pelly - that is overwhelming in half his productions - is the reason why I won't ever consider him as a great director; consistancy is something he desperately lacks. A quick word on the cast; Corbelli's Schicci is the only outstanding performance - and Patrizia Ciofi is rather disappointing (voice and stage presence problems).
YouTube extracts:
- "O mio bambino caro", Patrizia Ciofi
- end of the opera
[1] Edmond Rostand, Cyrano de Bergerac
Apr 15, 2008
Composers in the City
Théâtre LyriqueGravure publiée dans L’Illustration, 15 décembre 1863
The Garnier Opera House in Paris was inaugurated in January 1875.
Thanks to the marvellous work of the Bibliothèque Nationale de France, putting online tons of resources, here's what I found in La France Musicale (N°15, April 10, 1864): the naming of the Paris streets around le palais Garnier.
Agrandir le plan
" Les voies ouvertes aux abords de l'Opéra prendront les dénominations suivantes:
La première, partant du boulevard des Capucines et aboutissant à la rue de la Chaussée d'Antin, celle de rue Halévy ;
La deuxième, ouverte entre le boulevard des Capucines et la rue de la Ferme-des-Mathurins, celle de rue Auber ;
La troisième, prolongeant la rue de Mogador, de la rue Neuves-des-Mathurins au boulevard des Capucines, celle de rue Scribe.
La rue ouverte derrière le Théâtre Lyrique, entre le quai de Sèvres et l'avenue Victoria, recevra le nom de rue Adam."
Thanks to the marvellous work of the Bibliothèque Nationale de France, putting online tons of resources, here's what I found in La France Musicale (N°15, April 10, 1864): the naming of the Paris streets around le palais Garnier.
Agrandir le plan
" Les voies ouvertes aux abords de l'Opéra prendront les dénominations suivantes:
La première, partant du boulevard des Capucines et aboutissant à la rue de la Chaussée d'Antin, celle de rue Halévy ;
La deuxième, ouverte entre le boulevard des Capucines et la rue de la Ferme-des-Mathurins, celle de rue Auber ;
La troisième, prolongeant la rue de Mogador, de la rue Neuves-des-Mathurins au boulevard des Capucines, celle de rue Scribe.
La rue ouverte derrière le Théâtre Lyrique, entre le quai de Sèvres et l'avenue Victoria, recevra le nom de rue Adam."
NB. Rue Adam is not close to the Garnier Opera but to the former Théâtre Lyrique (now Théâtre de la Ville) near the banks of the Seine.
Mar 23, 2008
Demofoonte, rè di Tracia
Demofoonte
Dramma per musica in tre atti di Pietro Metastasio
Dramma per musica in tre atti di Pietro Metastasio
Musica di Niccolò Jommelli 1714-1774
It turns out the internet is full of informations about both Napolitan composer Niccolò Jommelli and Demofoonte, so my research was unexpectedly quick and thorough.
About Niccolò Jommelli (1714 - 1774) :
About Niccolò Jommelli (1714 - 1774) :
- Complete biography (in English) by phonoarchive.org
- "The evolution of Jommelli's operatic style" by Marita P. McClymonds (in English, extract from The Journal of the American Musicological Society) - see pages 338 to 350 (pdf pages 13 to 30) for a comparison of the 1764 and 1770 versions of Demofoonte
- Biography (in French) by musicologie.org
- Quelques jalons préliminaires (also in French) by resmusica.com
About Demofoonte:
- One sentence to sum up the story: King Demophon wants to sacrifice a virgin to appease Apollo, but the intended victim (Dirce) is secretly married to his son, Timante.
- Synopsis and complete genesis of the opera (in French) here
- Libretto (pdf format) here
- Synopsis in Italian here
Demofoonte was originally composed in 1743 (premiere in Padova) but underwent several revisions: Milan 1753, Stuttgart 1764, Naples 1770 (four versions total).
If the Paris Opera website is accurate, Riccardo Muti should conduct the original version of 1743 in June 2009.
If the Paris Opera website is accurate, Riccardo Muti should conduct the original version of 1743 in June 2009.
Mar 19, 2008
Demofoonte
Ever heard of this 1743 Napolitan opera from Niccolò Jommelli?
Neither did I.
This piece is the only really amazing thing happening in Paris next season, because the one and only Riccardo Muti will conduct it.
So I am definitely going to do a little research on the matter (as soon as my work allows me a little thing called free time).
Demofoonte
Opéra napolitain en trois actes
Livret de Pietro Metastasio
Direction musicale Riccardo Muti
Mise en scène Cesare Lievi
Décors Margherita Palli
Costumes Marina Luxardo
Lumières Luigi Saccomandi
Chanteurs et musiciens de l’Orchestra Giovanile Luigi Cherubini
Palais Garnier
Première 13 juin 2009 19h30
Représentations 16*, 18, 20, 21 (14h30) juin 2009 19h30
Prix des places 172€, 116€, 68€, 39€, 21€, 10€, 7€
Ouverture des réservations individuelles
Internet 9 mars 2009
Feb 18, 2008
Pina Bausch's Orphée et Eurydice
So, this Saturday was supposed to be a day out for opera lovers, to enjoy all the backstage elements you don't normally see when attending a performance.
It turned out to be a day in for me, as the program Arte presented all day long was too good to be missed - even by a few hours. I even turned off my plans for the evening, as the live performance of Gluck's Orphée et Eurydice was broadcast from the Garnier Opera House in Paris.
I had never seen an opera where acting singers were substituted with dancers, and this Pina Bausch choreography from 1975 was the perfect opportunity, since after all it is based on a music I love, Gluck's Orphée et Eurydice (although sung in German, which is so weird for this piece that I know so well).
First of all, the format of this "opéra dansé" (danced opera) was actually pretty good, since every last piece of recitative (the plague of Gluck's music) was ripped off. Obviously, dancing doesn't go too well with speaking parts, so the Gluck's score was shorter than the usual (a mere 90 minutes), more condensed, in other words easier to follow.
I am sceptical about the conducting of Thomas Hengelbrock at the helm of his Balthasar-Neumann Ensemble & Chor (but nobody can really find a place in my heart after Riccardo Muti reinvented the piece last year) as well as the overall performance of the musicians and choristers (not nearly enough nuances from both of them, plus I'm really fed up by now by the trend of playing on ancient relics).
Both Maria Riccarda Wesseling (Orphée), Julia Kleiter (Eurydice) and Sunhae Im (l'Amour) who were singing their respective parts on stage while their counterpart (the dancers interpreting Orphée - Yann Bridard -, Eurydice - Marie-Agnès Gillot - and l'Amour - Miteki Kudo -) were doing the choreography gave average performances.
The notes were where they are supposed to be (for the most part) but the voices were too weak and almost inaudible at times.
I know nothing about dance, so I couldn't judge anything from that angle, but I do have to say a few words about the choreography. Its modernity is undoubtable (even if the ballet was created in 1975), the costumes, lights and sets were really interesting but the choreography left me perplexed (to say the least).
The one thing I did love however was Cerberus, which was portrayed by three dancers (picture above) and was just perfectly though through. The rest was too full of wide gestures, crazy running and endless movement.
Overall, contrary to what you might think after these few lines, I did enjoy the show - very much (other substances may have helped).
It turned out to be a day in for me, as the program Arte presented all day long was too good to be missed - even by a few hours. I even turned off my plans for the evening, as the live performance of Gluck's Orphée et Eurydice was broadcast from the Garnier Opera House in Paris.
I had never seen an opera where acting singers were substituted with dancers, and this Pina Bausch choreography from 1975 was the perfect opportunity, since after all it is based on a music I love, Gluck's Orphée et Eurydice (although sung in German, which is so weird for this piece that I know so well).
First of all, the format of this "opéra dansé" (danced opera) was actually pretty good, since every last piece of recitative (the plague of Gluck's music) was ripped off. Obviously, dancing doesn't go too well with speaking parts, so the Gluck's score was shorter than the usual (a mere 90 minutes), more condensed, in other words easier to follow.
I am sceptical about the conducting of Thomas Hengelbrock at the helm of his Balthasar-Neumann Ensemble & Chor (but nobody can really find a place in my heart after Riccardo Muti reinvented the piece last year) as well as the overall performance of the musicians and choristers (not nearly enough nuances from both of them, plus I'm really fed up by now by the trend of playing on ancient relics).
Both Maria Riccarda Wesseling (Orphée), Julia Kleiter (Eurydice) and Sunhae Im (l'Amour) who were singing their respective parts on stage while their counterpart (the dancers interpreting Orphée - Yann Bridard -, Eurydice - Marie-Agnès Gillot - and l'Amour - Miteki Kudo -) were doing the choreography gave average performances.
The notes were where they are supposed to be (for the most part) but the voices were too weak and almost inaudible at times.
I know nothing about dance, so I couldn't judge anything from that angle, but I do have to say a few words about the choreography. Its modernity is undoubtable (even if the ballet was created in 1975), the costumes, lights and sets were really interesting but the choreography left me perplexed (to say the least).
The one thing I did love however was Cerberus, which was portrayed by three dancers (picture above) and was just perfectly though through. The rest was too full of wide gestures, crazy running and endless movement.
Overall, contrary to what you might think after these few lines, I did enjoy the show - very much (other substances may have helped).
Jan 22, 2008
... so am I
Nothing to look forward to at the Paris Opera...
Palais Garnier
Opéra de Paris
Jan.19, 2007
Palais Garnier
Opéra de Paris
Jan.19, 2007
Nov 12, 2007
Grèves, encore
As France is getting ready for a second round of transportation strikes on wednesday (beginning tomorrow night for the trains), the Paris Opera is also getting ready; after the strike of the end of October that resulted in several performances cancellations, this time, the strike could last up to 16 days.
I guess it's not that bad, since you won't be able to go to the Opera House anyway, with the transportation strike.
By the way, one of the stupidest excuses to justify this mess was given by the technical staff of the Garnier Opera: « C'est vrai qu'on bosse dans un cadre magnifique. Mais en plateau, on est dans le noir et la poussière toute la journée », dit Christophe. Sans compter l'effort physique. « On a un plateau à l'italienne, incliné à 5 %. C'est d'autant plus dur de monter et démonter les décors. Je ne me vois pas à 60 ans porter encore des murs ou soulever des danseuses pour les faire disparaître du décor », explique Nicolas.
My translation:
"It's true we work in a magnificent place. But, on the stage, we are in the dark and dust all day long" says Christophe. And that's without taking into account the physical effort. " We operate an Italian-like stage, with a 5% slope. It's even harder to build and unbuild the set. I don't envision myself at 60 still lifting walls or raising dancers to make them disappear from the stage" explains Nicolas.
Well, that's a first: the weight of dancers.
And that's a shame, this slippery slope of huge proportions that has so much effect on eveybody.
By the way, when the Garnier Opera was inaugurated in 1875, how were the technicians doing?
I guess it's not that bad, since you won't be able to go to the Opera House anyway, with the transportation strike.
By the way, one of the stupidest excuses to justify this mess was given by the technical staff of the Garnier Opera: « C'est vrai qu'on bosse dans un cadre magnifique. Mais en plateau, on est dans le noir et la poussière toute la journée », dit Christophe. Sans compter l'effort physique. « On a un plateau à l'italienne, incliné à 5 %. C'est d'autant plus dur de monter et démonter les décors. Je ne me vois pas à 60 ans porter encore des murs ou soulever des danseuses pour les faire disparaître du décor », explique Nicolas.
My translation:
"It's true we work in a magnificent place. But, on the stage, we are in the dark and dust all day long" says Christophe. And that's without taking into account the physical effort. " We operate an Italian-like stage, with a 5% slope. It's even harder to build and unbuild the set. I don't envision myself at 60 still lifting walls or raising dancers to make them disappear from the stage" explains Nicolas.
Well, that's a first: the weight of dancers.
And that's a shame, this slippery slope of huge proportions that has so much effect on eveybody.
By the way, when the Garnier Opera was inaugurated in 1875, how were the technicians doing?
Oct 27, 2007
Aux armes, citoyens!
The great thing about opera is that you get to talk about anything, really.
The Paris Opera has just announced some cancellations planned over the next few days; the world premiere of a ballet by Wayne McGregor, Genus, and Medea's Dream by the Angelin Preljocaj as well as a performance of Tosca, currently receiving a big success at l'Opéra Bastille (the dance evenings play at l'Opéra Garnier).
Why is that?
Well, I know it sounds desperately cliché but the employees are going on strike over pension reform.
I'm so fed up with how selfish and dumm the French people can sometime act (thank God, they're not always like that). We have one of the best health-care systems in the world, a fantastic state-run pension system, we damn well know it's ruining us and killing the entrepreneurs thus causing a cycle of poor economic growth (our Prime Minister got busted by our new president/God a couple of months ago because he admitted on a radio interview that we were, indeed, facing a recession), we know all that, everybody knows, and yet, instead of sharing the burden, the French have that tendency to keep it all to themselves.
I can't emphasize enough how I love our Social Security, how I love our maybe so-old-fashioned state-run pension system.
Yet, some "troupes de mouches", to use this XIXth century vocabulary I love so much, go on strike and protest all the time instead of thinking of the Greater Good.
No wonder many across the globe see us as little midgets yelling around like crazy.
If you think about it going on strike and protesting on a regular basis is really kind of a French trademark.
How sad a reputation is that.
Mise à jour du 31 octobre:
La grève qui dure à l'Opéra de Paris, ça mérite bien un mini-article de Renaud Machart dans Le Monde daté du 1er novembre.
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