On Saturday, July 16, the Opera de Lyon will bring Cosi fan tutte to all Lyonnais (outside screen, place des Terreaux and elsewhere 9pm) and also to all internet fans, wherever they might be (streaming starts at 9:35pm on the Opera de Lyon's website).
Showing posts with label lyon. Show all posts
Showing posts with label lyon. Show all posts
Jul 13, 2011
Jan 25, 2011
Werther, Villazon directing
Werther
Jules Massenet
Drame lyrique en quatre actes
Livret de Edouard Blau, Paul Millet et Georges Hartmann, d'après Les Souffrances du jeune Werther (Goethe)
1892
Opéra de Lyon
Jan. 24, 2011 - premiere
Last performance of this run: Feb. 7
When you have been especially careless with your voice, the time comes rather quickly when you have to find a new way of earning money, and hope to find a new career besides singing - directing, in the case of Rolando Villazon.
Well, I don't think he's yet ready, and if he'll ever be ready for that new job of directing an opera.
Having sung the role of Werther many times clearly didn't provide him with any kind of a deeper insight of the opera, as he tried - and failed - to give it a Regietheater twist that only resulted in a disaster.
All the components of the Regitheater are present, from the white and almost empty stage, the bright, colorful and ugly costumes, to some "grand" ideas that completely disrupt the dramatic moments of the opera and to some frankly very naive views on the whole story.
First of all, I think the way to core concept of Villazon is very wrong.
Werther is not one of those operas you can twist into a circus-like idea, or if you can, you completely loose all it's interest; maybe the idea of all the characters living in a world of fate and thus being clowns of their own lives could have had a chance, if Villazon could have been constrained to be less explicit and more subtile.
Subtility, here's what's clearly missing from this.
For instance, the first time Werther enters the stage, it's not enough that this child double is dressed in the same horrific color as he is (chick yellow), Villazon trusts himself (or the audience) so much that, just to make sure everyone gets it, they have the exact same gesture. Really useful? I sure don't think so, but I'm also sure this example is pretty much the quintessential way to describe this production.
It all seems terribly immature, almost childish, and this is clearly not the way to emphasize the dramatic quest of Werther.
Yet another example at the end of Act II, moments after Werther bids farewell to Charlotte in a very dramatic way (basically telling her he's going to kill himself): a giant pillow fight on stage orchestrated by the clowns and the children.
Again, was that really useful?
As far as the conducting by Leopold Hager was concerned, nothing extraordinary there, but rather a blend and forgettable reading of the score.
The singer clearly on top of the cast is Karine Deshayes (Charlotte) whose interpretation was indeed very convincing and quite well-sung.
Arturo Chacon-Cruz (Werther) struggled with his high notes (or rather has to learn how to sing a high note without yelling) and seemed like a clone of Villazon on stage: too much movements for such little effects... his stage presence, in other words, was all but sincere and credible.
Lionel Lhote (Albert) and Alain Vernhes (le Balli) both had a good performance, as well as Anne-Catherine Gillet (Sophie).
All pictures on this page from the Opéra de Lyon.
Video extract here.
Links to the Opéra de Lyon website:
- presentation of the production
- programme (incl. libretto)
Press reviews:
- "Un Werther "clownesque" à Lyon pour la première mise en scène de Rolando Villazon", AFP
- "Werther à l'Opéra de Lyon - rencontre avec Rolando Villazon", Le Progrès
- "Pas tout à fait la Bohème", Le Progrès, Antonio Mafra
- "Werther, Opera de Lyon, review", The Telegraph, Rupert Christiansen
- "Des danseuses et des clowns", La Libre Belgique, Nicolas Blanmont
Nov 28, 2010
Evelino Pido: Otello / La Sonnambula - 2010
Otello ossia Il Moro di Venezia
Giaocchino Rossini
John Osborn : Otello
Anna Caterina Antonacci : Desdémone
Marco Vinco : Elmiro
Dmitry Korchak : Rodrigo
José Manuel Zapata : Iago
Orchestre et Chœurs de l'Opéra de Lyon
Evelino Pidò, conductor
Nov.7, 2010 - Concert version
La Sonnambula
Vincenzo Bellini
Michele Pertusi - Il Conte Rodolfo
Cornelia Oncioiu - Teresa
Natalie Dessay - Amina
Javier Camarena - Elvino
Orchestre et choeur de l'Opéra national de Paris
Evelino Pidò, conductor
Opéra National de Paris
Feb.15, 2010 - Mezzo broadcast
Sep 30, 2010
Récital Joyce DiDonato
Bis: "Parto, parto", La Clemenza di Tito, Mozart
Joyce DiDonato ended her 10-day recording session with the Orchestra of the Opéra de Lyon by providing us Lyonnais with a glimpse of this new album, whose highlight was, for me, her exquisite rendering of Gluck's da capo aria from La Clemenza di Tito, "Se mai senti sporarti sul volto". She was here able to fully express the desperation of Sesto on his way to death. The aria in itself is beautifully written to start with (the oboe is literally to die for), but her interpretation was really mesmorizing.
Of course she excelled with her collatura in pieces such as "Non più mesta" from La Cenerentola, or "Amour, viens rendre à mon âme" from Orphée et Eurydice (adapted by Berlioz) - she can, indeed, "braver le trépas" with strength and determination.
It was no surprise either that she ignited the audience with her wonderful spirit, and her obvious love and devotion to the music. She took a few minutes before the last aria to share with us the impressions she had of her stay - and it seems she has discover the hidden treasure of Lyon - its food. She praised Maestro Ono for his musicality and attention to details, and I quite agree with her.
The orchestra sounded quite improved and much more focused than before Ono arrived two years ago.
Sure there were some slight issues (the cellos and double bass were sometimes a bit off), but the musicality of the orchestra has grown tremendously, and they were able to convey nuances and a vitality that were indeed refreshing.
Poulenc's Sinfonietta was vibrant and exciting under the baton of Ono, but the overture of Gluck's Iphigénie en Tauride was for me, the highlight of the orchestra. It started a bit heavy with the strings, but after the first few bars, the music really came to life and illuminated the whole opera house.
Overall a wonderful evening.
Apr 10, 2010
Mar 11, 2010
Sneak peak: Lyon 2010-11 season [Villazon to direct Werther]
Even if the new season hasn't been revealed yet, the big news is already buzzing through town: Rolando Villazon will direct his first opera in Jan/Feb 2011 in Lyon, Werther (with Karine Deshayes).
I wonder if, having sung the role so many times, he thinks he can bring a vision to Massenet's piece. I doubt it, but of course, I wouldn't want to miss it either...
Next season will also feature :
This 2010-11 season looks nothing like the current one, thank God.
- Tristan und Isolde conducted by Kirill Petrenko, with Gary Lehman
- Verdi's Luisa Miller directed by David Alden, conducted by Kazushi Ono, with Ermonela Jaho
- Poulenc's Les Mamelles de Tiresias, played with Darius Milhaud's Boeuf sur le toit (both rarities) conducted by Lyon-born Ludovic Morlot (premiere in Lyon)
- Stravinsky's Le Rossignol conducted by Kazushi Ono
- Mozart/Da Ponte trilogy in March, shown separately over the past few years, conducted by Stefano Montanari
- Rossini's Otello conducted by Evelino Pido [1]
- Rachmaninov's Aleko and Monna Vanna
- a Joyce DiDonato recital
This 2010-11 season looks nothing like the current one, thank God.
[1] A new concert-versions cycle is announced for the next few years with Pido: after Donizetti's queens-cycle, this one should be all about Bellini.
Dec 21, 2009
The Opéra de Lyon on Arte Live Web
Photo Opéra de Lyon
Arte Live Web will broadcast the performance of Chostakovitch's Cheryomushki on Dec.29 (from 8 pm) from the Opéra de Lyon.
Jul 8, 2009
Fin de cycle
La Traviata
G.Verdi
Opéra de Lyon
G.Verdi
Opéra de Lyon
Photo Opéra de Lyon July 7 review (last performance of the run).
For further details about the cast and the production, see here.
Amazing how 15 days of performances can make a difference on an orchestra.
Although I am still very much doubtful about the level of the flute and French horns, I must say the orchestra as a whole sounded decent this time around.
Even the conduction of Gérard Korsten was more inspired and focused - but I still think he has a consensual and panache-less reading of the score.
The chorus was also better last night, which cannot be said of the cast as a whole.
The three main roles, Alfredo, Giorgio and Violetta sounded tired and both Alfredo and Violetta had lost some clarity in the voice (the problem was obvious for Edgaras Montvidas as Alfredo).
Ermonela Jaho as Violetta also looked pretty tired, which obviously brought her closer to her never-dying character (by the way, in this production, she doesn't actually die on stage, but ends up as a static zombie while the curtain is closing - talk about originality).
Once again, I couldn't really relate to the emotions she showcased, as I found myself deaf to her vocal expressivity. Her stage presence improved on the other hand, especially at the end (from "Addio del passato" to the end).
This performance was the official end of the 2008-09 season in Lyon. It's very doubtful I will attend any performance here next season. I'm done with Serge Dorny's choices.
For further details about the cast and the production, see here.
Amazing how 15 days of performances can make a difference on an orchestra.
Although I am still very much doubtful about the level of the flute and French horns, I must say the orchestra as a whole sounded decent this time around.
Even the conduction of Gérard Korsten was more inspired and focused - but I still think he has a consensual and panache-less reading of the score.
The chorus was also better last night, which cannot be said of the cast as a whole.
The three main roles, Alfredo, Giorgio and Violetta sounded tired and both Alfredo and Violetta had lost some clarity in the voice (the problem was obvious for Edgaras Montvidas as Alfredo).
Ermonela Jaho as Violetta also looked pretty tired, which obviously brought her closer to her never-dying character (by the way, in this production, she doesn't actually die on stage, but ends up as a static zombie while the curtain is closing - talk about originality).
Once again, I couldn't really relate to the emotions she showcased, as I found myself deaf to her vocal expressivity. Her stage presence improved on the other hand, especially at the end (from "Addio del passato" to the end).
This performance was the official end of the 2008-09 season in Lyon. It's very doubtful I will attend any performance here next season. I'm done with Serge Dorny's choices.
Jun 25, 2009
Traviata in Lyon with Jaho
La Traviata
Giuseppe Verdi
Opéra en quatre parties, 1853
Livret de Francesco Maria Piave d'après La Dame aux camélias d'Alexandre Dumas fils
Ermonela Jaho, Violetta Valéry
Edgaras Montvidas, Alfredo Germont
Lionel Lhote, Giorgio Germont
Orchestre et Chœurs de l'Opéra de Lyon
Alan Woodbridge, Chef des Chœurs
Gérard Korsten, Direction musicale
Klaus Michael Grüber, Mise en scène
Ellen Hammer, Collaboration artistique et réalisation de la mise en scène
Recréation - Coproduction initiale Théâtre du Châtelet, Opéra de Lyon
June 23 performance
First of all, I know it's not very elegant to criticize dead people, but the late Klaus Michael Grüber who directed the original run of this production in 1993, really was uninspired.
Think about a stage where all the characters are static, with for whatever reason a naked woman appearing in the first part, a ridiculous use of the stage (or non-use I should say), this would have be comical if I had been in the mood to close my eyes. Unfortunately I was not, but I came to the notion as the music was unfolding.
Neither of the singers were really able to act convincingly in this ghost of a production (bad joke intended). Jaho didn't really have the stamina to portray the dying Violetta and her performance lacked intensity and ardor. The others were even worse.
The conduction of Gérard Korsten was unoriginal at best - but you can't except much from someone who doesn't hear how vivid and vibrant Verdi's music is (or rather only sees one dimension to it). The real disaster though came from the pit: all sections of the orchestra were horrendous, at one time or another (another being a number between 5 and 6), and all the time altogether. I have never heard it sound so badly in the years I've regularly attended performances at the Opéra de Lyon. This was an embarrassing nightmare really, but the audience loudly cheering the orchestra at the end must have been even worse. How bad are your ears people, seriously?
Lionel Lhote as Giorgio Germont was decent, but his voice quietly worsened during the performance.
Edgaras Montvidas as Alfredo has still a lot of work to do to polish his sound and clear his timbre. But he displayed interesting and lifeful colours and emotions.
Ermonela Jaho was kind of a disappointment. Her voice started to emerge for the Sempre Libera aria, but she wasn't really a factor before that. Her notes were beautiful, her singing passionate, but somehow I didn't feel the emotions coming out of her voice. Kind of when you attend a play and aren't really touched by an actor you normally like. Hopefully I won't have the same impression when I come back for the last performance of the run (July 7).
Overall, once again, it's very unforgiving to come back to the Opéra de Lyon after a Muti experience...
Further readings:
- "Ermanela Jaho, magnétique Violetta dans La Traviata", M.A.Roux, Le Monde, June 26 :
"La soprano albanaise Ermonela Jaho n'est pas encore très connue du grand public. (...) Présence magnétique et voix d'airain, la jeune femme incarne une Violetta sur le fil, alternant un chant très retenu, avec de brusques montées de fièvre - mimétique des symptômes phtisiques qui la rongent. A ses côtés, le solide Alfredo du ténor lituanien Edgaras Montvidas semble un tantinet froid, le Germont de Lionel Lhote un rien plébéien. Le seul bémol (de taille) vient de la très prosaïque direction du chef d'orchestre sud-africain Gerard Korsten."
- "La Traviata s'offre gratuitement en Rhône-Alpes", Luc Hernandez, Libération Lyon, July 3
Jun 10, 2009
Traviata broadcast from Lyon
Complete list of outdoor broadcasts here.
The performance will also be broadcast live on France Musique and Mezzo, on the Opéra de Lyon website and on evene.fr.
The performance will also be broadcast live on France Musique and Mezzo, on the Opéra de Lyon website and on evene.fr.
Apr 24, 2009
Another frustrating season: Lyon 2009-10
So, yesterday evening Serge Dorny, GM of the Opéra de Lyon, proudly introduced us to his next season, that he "humbly" described as a season of accomplishments centered around the theme of wandering.
As a matter of fact, the presence of Dorny in Lyon has been a strange kind of accomplishment: he successfully managed to ignore the monuments of opera, the French repertoire and the first-half of the XIXth century altogether and turned the House into a kind of experimental laboratory for XXth century (or even XXIth century) operas.
After quite a few seasons of that regime, you'd be crying for classicism as well. And once again, I'm left with this daunting and harrowing question: when will someone finally offer Dorny a new job so that he can get the hell out of Lyon?
I must admit however the new season has a clear highlight (for those who like the music involved, that is): the world premiere of Kaija Saariaho's latest piece, Emilie, an opera in 9 scenes composed for Karita Mattila, who will effectively sing the 4 performances schedules in early March (the opera will then inaugurate the exchange program Dorny finalized with Pierre Audi and the Nederlandse Opera in Amsterdam where it will be performed for 3 nights at the end of March ; Michel van der Aa's After life is the production Audi will send to Lyon in late March).
Karita Mattila is, desperately enough, the only attractive singer to come to Lyon next year. As usual, Dorny failed in securing attractive casts, and Puccini's Manon Lescaut (Jan/Feb) is even listed without a name for Manon (a very frustrating trick, if you ask me).
It's worse on the conductors front, as Dorny, ending his 3-opera cycle around Mozart and Da Ponte (Don Giovanni to open the season in October) couldn't convince William Christie, who led the first 2 pieces (Nozze and Tito), to come back and finish the job.
By the way, Dorny confirmed that all three operas will be performed again for the 2010-11 season. Seeing how unattractive the cast of Don Giovanni is, I'm guessing I'll wait til next year in hopes of an improvement there.
This 2009-10 season is basically a showcase of Russian operas.
For Christmas, Dorny chose to exhume Macha Makeïeff and Jérôme Deschamps's production of Chostakovitch's Moska, Cheremushki, and the three Tchaïkowski's productions of Peter Stein will be performed altogether in a pretentious "Pouchkine Festival" (April and May) that will feature Mazeppa, Oneguin and The Queen of Spade as well as two concerts. Dorny prided himself on being able to create an homogeneous company for the occasion, and assured us Peter Stein would make a lot of changes to his direction (which frankly is pretty blend and unimaginative, so that clearly can't hurt, can it?).
The season will then end with Humperding's Hänsel und Gretel in the production Laurent Pelly created for the Glyndebourne Festival last summer (June) and two performances of last year's success, Gershwin's Porgy and Bess, directed by José Montalvo and Dominique Hervieu (July 16 and 17). José Van Dam will come on Nov. 8 for a concert around Fauré, Duparc and Poulenc; Jérémie Rhorer and his ensemble will (attempt to) play Mozart on Jan.17 and principal conductor Kazushi Ono will conduct the remaining concerts scheduled.
Dorny chose the slogan "Entrez sans frapper" for the season. In my perspective, he should substitute it for "Leave without notice".
[The new season is online].
Further reading: - "En avance la musique!", Libé Lyon
As a matter of fact, the presence of Dorny in Lyon has been a strange kind of accomplishment: he successfully managed to ignore the monuments of opera, the French repertoire and the first-half of the XIXth century altogether and turned the House into a kind of experimental laboratory for XXth century (or even XXIth century) operas.
After quite a few seasons of that regime, you'd be crying for classicism as well. And once again, I'm left with this daunting and harrowing question: when will someone finally offer Dorny a new job so that he can get the hell out of Lyon?
I must admit however the new season has a clear highlight (for those who like the music involved, that is): the world premiere of Kaija Saariaho's latest piece, Emilie, an opera in 9 scenes composed for Karita Mattila, who will effectively sing the 4 performances schedules in early March (the opera will then inaugurate the exchange program Dorny finalized with Pierre Audi and the Nederlandse Opera in Amsterdam where it will be performed for 3 nights at the end of March ; Michel van der Aa's After life is the production Audi will send to Lyon in late March).
Karita Mattila is, desperately enough, the only attractive singer to come to Lyon next year. As usual, Dorny failed in securing attractive casts, and Puccini's Manon Lescaut (Jan/Feb) is even listed without a name for Manon (a very frustrating trick, if you ask me).
It's worse on the conductors front, as Dorny, ending his 3-opera cycle around Mozart and Da Ponte (Don Giovanni to open the season in October) couldn't convince William Christie, who led the first 2 pieces (Nozze and Tito), to come back and finish the job.
By the way, Dorny confirmed that all three operas will be performed again for the 2010-11 season. Seeing how unattractive the cast of Don Giovanni is, I'm guessing I'll wait til next year in hopes of an improvement there.
This 2009-10 season is basically a showcase of Russian operas.
For Christmas, Dorny chose to exhume Macha Makeïeff and Jérôme Deschamps's production of Chostakovitch's Moska, Cheremushki, and the three Tchaïkowski's productions of Peter Stein will be performed altogether in a pretentious "Pouchkine Festival" (April and May) that will feature Mazeppa, Oneguin and The Queen of Spade as well as two concerts. Dorny prided himself on being able to create an homogeneous company for the occasion, and assured us Peter Stein would make a lot of changes to his direction (which frankly is pretty blend and unimaginative, so that clearly can't hurt, can it?).
The season will then end with Humperding's Hänsel und Gretel in the production Laurent Pelly created for the Glyndebourne Festival last summer (June) and two performances of last year's success, Gershwin's Porgy and Bess, directed by José Montalvo and Dominique Hervieu (July 16 and 17). José Van Dam will come on Nov. 8 for a concert around Fauré, Duparc and Poulenc; Jérémie Rhorer and his ensemble will (attempt to) play Mozart on Jan.17 and principal conductor Kazushi Ono will conduct the remaining concerts scheduled.
Dorny chose the slogan "Entrez sans frapper" for the season. In my perspective, he should substitute it for "Leave without notice".
[The new season is online].
Further reading: - "En avance la musique!", Libé Lyon
Apr 8, 2009
Mar 25, 2009
Dorny's version of a HD broadcast
So this is what Serge Dorny, the GM of the Opera de Lyon had in mind a few months ago about La Traviata: an outdoor broadcast in the esplanade of Fourvière (part of the Summer Festival "Les Nuits de Fourvière").
It will be free so I can't really criticize the effort, but a live broadcast would have added somehow a thrill to it. And I'm not sure a lot of people will attend a broadcast that starts at midnight...
La Traviata en différé de l'Opéra de Lyon July 3 2009, midnight
It will be free so I can't really criticize the effort, but a live broadcast would have added somehow a thrill to it. And I'm not sure a lot of people will attend a broadcast that starts at midnight...
La Traviata en différé de l'Opéra de Lyon July 3 2009, midnight
Mar 8, 2009
Mar 4, 2009
Leïla en Pologne
[basically my summary of the opera, after Leïla, the female role of Les Pêcheurs de Perles]
© Gérard Ansellem
Le Roi Malgré Lui
Opéra comique en 3 actes d'Emmanuel Chabrier (1887)
Livret d'Emile de Najac et Paul Burani
Revival of the 2005 production of Laurent Pelly and Agathe Mélinand
Henri de Valois, roi de Pologne - Jean-Sébastien Bou
Minka - Magali Léger
Le Duc de Fritelli - Franck Leguérinel
Alexina, Duchesse de Fritelli - Sophie Marin-Degor
Le Comte de Nangis - Gordon Gietz
Laski, grand palatin - Nabil Suliman
Conduction - Claire Levacher
Orchestra and chorus of the Opéra de Lyon
March 3 2009
© Gérard AnsellemThe piece
You know you're not headed for a masterpiece when you realize how the music of Le Roi Malgré Lui, which premiered in 1887, sounds awfully like operas composed 50 years before it. Still, as I like French operas from that time, I found some qualities to the score, although one could only think about Auber, Thomas or even Gounod quite a few times.
This comic opera sure doesn't carry with it a special aura of originality, but the score is overall well-balanced and easy to follow. Of course there's no emotional dimension ever, but that's not the purpose anyway. The libretto is not very smart either, and the storyline is also typical of the XIXth century: a silly situation, royalty, a conspiracy, a loving slave and a happy ending. Basically your average love-story movie right from Hollywood, 21st century.
This is the tale of a French duke that is appointed king of Poland and hates his new country. He wants to leave, as do most of the Polish court and his Italian chambellan Fritteli. Add to that the necessary orientalism for the time in the face of the slave Minka, a love triangle between the King, Fritteli and his wife, a chorus whose sole goal was to please La Censure, "Par l'Evangile et Notre-Dame" (Acte 2 scène 9) and other forgettable and complicated ideas.
Henri de Valois, ©Opéra de Lyon
The music
One (and by one, I mean me) realizes even more how extatic Riccardo Muti's concert was when one goes back to the Opéra de Lyon for a comic opera. Apparently, the frivolous libretto allows for frivolous behavior from the audience as well. I was dying for some quiet, especially during the introductions of each act, but the religious atmosphere of the TCE couldn't have been further than my fellow Lyonnais' proclivities.
The reason for my deep interest in the orchestra was Claire Levacher, the unknown assistant conductor who had to step in when scheduled Carlo Franci cancelled for the whole run. She's evidently not Leonard Bernstein, but she showed some real talent last night. The opening chorus of Act 2 was a beauty, as were many other parts of the score. Overall, she can improve on the emotional side (though obviously, conducting a comic opera doesn't help), and focus more on the strings. I honestly didn't expect at all such a good work.
Hopefully she'll be given the opportunity to conduct again in this house. This sure would be an excellent idea.
The overall quality of the cast was excellent, both singing and acting. On the negative side, Sophie Marin-Degor as Fritteli's wife made a very poor impression on me, both with her acting and her singing. Other that that, this was really fun and vocally harmonious to follow.
Franck Leguérinel was the star of the evening for me. His timbre is beautiful and his singing is very vibrant and honest; his acting skills are pretty good also.
Minka, ©Opéra de Lyon
The staging
This is probably the best production I've seen from Laurent Pelly.
First of all, it's very funny, and doesn't really fall to the ridiculous side Pelly often slides into. It may sometimes be a bit over the top, especially the way he handles the singers' moves (nobody is ever walking, they're all rushing as if the House was on fire or something).
But, contrary to my recurrent critics about Pelly's sets, these ones are actually beautiful, as are the costumes. This gives a unity to this production that really allows to focus more on the story and the numerous hilarious tricks Pelly added to the action (most of them being a smart illustration of the lack of interest of the libretto). A very interesting revival indeed.
The Frittelis, ©Opéra de Lyon
You know you're not headed for a masterpiece when you realize how the music of Le Roi Malgré Lui, which premiered in 1887, sounds awfully like operas composed 50 years before it. Still, as I like French operas from that time, I found some qualities to the score, although one could only think about Auber, Thomas or even Gounod quite a few times.
This comic opera sure doesn't carry with it a special aura of originality, but the score is overall well-balanced and easy to follow. Of course there's no emotional dimension ever, but that's not the purpose anyway. The libretto is not very smart either, and the storyline is also typical of the XIXth century: a silly situation, royalty, a conspiracy, a loving slave and a happy ending. Basically your average love-story movie right from Hollywood, 21st century.
This is the tale of a French duke that is appointed king of Poland and hates his new country. He wants to leave, as do most of the Polish court and his Italian chambellan Fritteli. Add to that the necessary orientalism for the time in the face of the slave Minka, a love triangle between the King, Fritteli and his wife, a chorus whose sole goal was to please La Censure, "Par l'Evangile et Notre-Dame" (Acte 2 scène 9) and other forgettable and complicated ideas.
Henri de Valois, ©Opéra de LyonOne (and by one, I mean me) realizes even more how extatic Riccardo Muti's concert was when one goes back to the Opéra de Lyon for a comic opera. Apparently, the frivolous libretto allows for frivolous behavior from the audience as well. I was dying for some quiet, especially during the introductions of each act, but the religious atmosphere of the TCE couldn't have been further than my fellow Lyonnais' proclivities.
The reason for my deep interest in the orchestra was Claire Levacher, the unknown assistant conductor who had to step in when scheduled Carlo Franci cancelled for the whole run. She's evidently not Leonard Bernstein, but she showed some real talent last night. The opening chorus of Act 2 was a beauty, as were many other parts of the score. Overall, she can improve on the emotional side (though obviously, conducting a comic opera doesn't help), and focus more on the strings. I honestly didn't expect at all such a good work.
Hopefully she'll be given the opportunity to conduct again in this house. This sure would be an excellent idea.
The overall quality of the cast was excellent, both singing and acting. On the negative side, Sophie Marin-Degor as Fritteli's wife made a very poor impression on me, both with her acting and her singing. Other that that, this was really fun and vocally harmonious to follow.
Franck Leguérinel was the star of the evening for me. His timbre is beautiful and his singing is very vibrant and honest; his acting skills are pretty good also.
Minka, ©Opéra de LyonThis is probably the best production I've seen from Laurent Pelly.
First of all, it's very funny, and doesn't really fall to the ridiculous side Pelly often slides into. It may sometimes be a bit over the top, especially the way he handles the singers' moves (nobody is ever walking, they're all rushing as if the House was on fire or something).
But, contrary to my recurrent critics about Pelly's sets, these ones are actually beautiful, as are the costumes. This gives a unity to this production that really allows to focus more on the story and the numerous hilarious tricks Pelly added to the action (most of them being a smart illustration of the lack of interest of the libretto). A very interesting revival indeed.
The Frittelis, ©Opéra de Lyon
Feb 10, 2009
Feb 1, 2009
New Glass in town
In the penal colonychamber opera by Philip Glass (Seattle 2000)
libretto Rudolph Wurlitzer from Kafka's In the penal colony, available here.
Stephen Owen - the officer
Stefano Ferrari - the visitor
Mathieu Morin - the convict (non singing part)
Philippe Forget, musical direction
Richard Brunel, staging
Quintette à cordes des musiciens de l'opéra de Lyon
Opéra de Lyon hors les murs
Studio Lumière 2, Villeurbanne
January 31, 2009
French premiere new prodution
Written for two singers (a baritone and a tenor), one speaking actor (the convict) and 2 non-speaking ones, In the penal colony lasts 80 minutes and is played by a string quintet (two violins, one alto, one cello and one double bass). The libretto, very close to Kafka's original words, is divided into 16 shorts scenes plus one epilogue. In an island converted into a surrealist prison, we follow the last 12 hours of a convict before his execution by the Harrow which inscribes his offense on his body with multiple needles.
The score Philip Glass composed is a well-balanced act that alternates between contemplative sections and very dramatic ones, complementing the story perfectly.
As for this French premiere run, it was originally scheduled at a real prison, but the suicide rate among convicts in France is so high at the moment the competent authorities thought it would be a bit too controversial to have this pamphlet in their own dirty backyard.
So instead, the Opéra de Lyon chose the Studio Lumière 2 (named after the world famous two lyonnais brothers) somewhere far far away from the city center, in a gloomy area (especially at night) perfect in the context.
The seats on the other hand could have been changed into something actually comfortable.
Mathieu Morin (left) as the convict (non singing role) was phenomenal, simply put. He really was the focus point on stage at all times, and his breathing was mesmorizing.The two others non-singing roles, Gérald Robert-Tissot and Nicolas Hénault were clearly not on the same level, as their acting was relatively uninspired.
The staging of Richard Brunel, though filled with small good ideas (the musicians dressed as judges during the first scene especially), was overall radiating amateurism, and reminded me of my college years, when we used to have DIY productions with little money but "big" ideas. Coming from the Opéra de Lyon, I find this to be stingy at best. The conceptualization of the Harrow was especially clumsy and distractive.
I also question the will of the director to place the musicians on stage, because someone like me ends up spending half of the performance (maybe more) watching them instead of watching the actual action.
I reckon I was probably the only one doing that so extensively, but still. I was a bit afraid when I heard some not so perfect notes from alto Donald O'Neil in the first 20 bars or so, but the overall performance of the 5 musicians was no less than amazing.
They played with poise, finesse, sensibility, nuances and perfect unison, and all that without a conductor on stage. Some notes of the double bass were doubtful, but really, fantastic job from Nicolas Gourbeix (first violin of the Orchestra of the Opéra de Lyon), Karol Miczka, Donald O'Neil, Jean-Marc Weibel and Cédric Cartier.
Stephen Owen (left) as the officer was also a sensation. His low notes were superb and his expressivity perfectly dosed. His acting skills are a bit limited, but his singing is clearly not.Stefano Ferrari (the visitor) was less successful; he tried to mask the weakness of his high notes with a bigger sound and it did not work. He also had issues projecting his voice: in this small hall (200/300 people), he sang too loudly and without the proper restraint. His middle and lower register were fine, but he also overdid it with regards to his expressivity: then again not enough restraint, that sometimes led to ridicule.
All and all, if you have strong affinities (like myself) with Philip Glass, this was a great evening.
As I've already mentioned, Lyon is indeed a city in love with Philip Glass, and this run is sold out, even with the extra performance added to the schedule (Jan.27). Last two performances on Monday (Feb.2) and Wednesday (Feb.4).
Extra performance in Nîmes on March 4.
All pictures (except the first two) from the Opéra de Lyon
Jan 25, 2009
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