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Teatime

Hansel und Gretel

Musical tale of Adelheid Wette,

Music by Engelbert Humperdinck (1893)

by soloists CNIPAL

Opera de Marseille, 16 December 2010

The ritual Time tea was that of champagne: it is assumed that one drink for the holiday season, a little early. But, tea or champagne, we drank the whey with this delightful spectacle. Not that this fairy tale fascinated by the subject: two children, brother and sister, mother somewhat stepmother, get lost in the woods like Tom Thumb, and lack of being eaten by an ogre, and everything returns to normal after the intervention of a fairy godmother and the arrival of parents relented. But the music is remarkable, simple tunes on line and complex assemblies, supported on a harmony that Wagner knows his , as the composer himself, who was a contributor. Founded in Weimar in 1893 under the direction of Richard Strauss , the work has never left the poster with the great operas prestigious distribution.

was a challenge to represent this story in various places on the small stage of the Grand Foyer of the Opera. Bet winner.

On the small stage, some stools and red removable passable: they will turn a seat, bed, pedestal mountain. One thinks of those of the Aix Festival a few years ago, those of frozen Don Giovanni

"Findus" Peter Brook, icy. Here, not cold, but cool as a staging inventive than soloists juvenile matrons happily changing lyrical, even famous, which entrusted the lead roles, but the childish and complex vocal music, he is true (Mezzo scheduled a retransmisssion in Covent Garden). Nicole Berloffa , to whom we owe a Trip to Reims which nicely traveled to France, has succeeded in this ingenious staging, coupled with a remarkable actor direction where all stakeholders play just.

is with pleasure that one sees and hears affirmed and confirmed the vocal and theatrical, previously outlined, the couple who plays the young hero Delalande Hélène , mezzo, in Hänsel, boyish but lightweight Jennifer Michel , soprano, Gretel, mischievous, brilliant, two votes equal to the volume in complex duets where their complicity and complementarity are wonderful. With joy, embodying very presence of the Mother, we find the mezzo Ai Wu , whose tone satin moiré has enriched the finer stuff. A newcomer Korean Kim Taeill , ready for Santa, a beautiful baritone valiant. Shoko Kumada , light soprano, arrived in Japan in a brief appearance, is the fairy dew on a piano full of bells and lace, and Déborah Attal-Ménélia , Sandman, has time to rob us of a gentle lullaby that can only give sweet dreams with this soft, fruity timbre.
But, in the role the longest off the children, the Japanese Tomoko Hayakawa in witch ogress, deploys a magnificent mezzo sumptuous the fabric, velvet dark in the low-bodied, medium colored , verve and comic vein, spirited, mobile face, rolling eyes, changing in a flash of expression: a revelation.

We welcome the musical cohesion given by Ivan Domzalski who prepared the singers. At the piano, Nina Uhari , giving as a gift the beautiful page of the interlude led down tempo without this long and complex score's rich chromaticism, with delicious modulations, proving, if proof were needed, that the great pianist is.

Opera de Marseille 15, 16 and 17 December; Avignon Opera Theater December 18, 2010.

Hänsel und Gretel

Engelbert Humperdinck

Last space Nicole Berloffa;

Distribution :

Delalande Hélène: Hansel, Jennifer Michel, Gretel; Ai Wu: Mother;

-Ménélia Deborah Attal: The Sandman; Shoko Kumada: Fairy Rose Tomoko Hayakawa: the Witch; Taeill Kim: Fr.

Piano Nina Uhari.

Photos: Artists, in the order of distribution followed by Nina Huari.