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LIFE PARIS LA BELLE HELENE

LIFE PARIS (1866)

opera buffa,

Booklet Mailhac Henri and Ludovic Halevy,

music of Offenbach.

Opera Theatre of Avignon

January 2, 2011

Offenbach The flowers this holiday season, and even began to Avignon. We knew this 2005 production, which has not aged a bit, however, since refined and sophisticated.

The work

The nineteenth century ^e loved and condemned the prostitutes of high or low floor, outlet males lacking necessary luxury for luxury's moral chastity forced or frantic wives and little girls.

While here, the infidel Metella, which titillated the cats are going to address it as a good move, will win back one of her lovers, Raoul Gardefeu if the Seraglio male full. The fact remains that, behind the pace backfiring and sparkling foam of Offenbach's music and libretto by Meilhac and Halevy's joyful but ferocious satire of a materialistic society, eager to satiety of terrestrial foods (dinner always ready, always primed festivals), a company that wants to cynically sated for his money as the Brazilian and boldly and generously wants 's' cram in "far" as the Baron, with women being on the menu, a natural part of the dessert. Even if the failure is part of the tradition of food if the food, the portion of fools part of the game with loaded dice: snobbery is strabismus, which caught the demimonde for the big dipper eyeglass world and this is believed to have taken a good grip and the flesh is necessarily expensive and it is on the altar of what kip fatally plucked pigeon. But to have full, they will recover. Here is the couple exotic, Swedish, Baron and Baroness Gondremarck, come hang out in Paris, hoping to deceive each other, which in turn will be abused by a false and mischievous cicerone, finally caught him even as a hen would have taken a fox.

Directed

Duffaut Nadine, who signs the staging, the moving of the Exposition Universelle of 1866 than in 1900, short after the disaster of 1870, after the bloodshed of the Commune 71 and before the cataclysm of 1914. So it is a historical parenthesis happy, during the "Belle Epoque", in the heart of "Gay Paris", probably the top of the universal radiance that comes to visit the capital of the world as evidenced by the Swedish couple, Brazilian and other allusions, underlined by these small national flags waved by travelers this great concourse with distant view of the new Eiffel Tower, a masterpiece of industrial architecture. The train is dense fun of a historical reality: the Second Empire had been weaving all over France via the rail network, the Grands Boulevards of Paris by Haussmann paths, wide as to avoid the barricades in 1848, were primarily quickly to major highways linking the main stations. Like this, from west to Deauville, Trouville, other places of the game fun.

Wall curvilinear in plan and cut very clean assorted furniture ( Emmanuelle Favre ) of an Art Nouveau style noodle flowery women-else-flower girls, already foreseeing the abstraction and Art Deco in a light albuginea, blue or red depending on the time (Philippe Grosperrin ) who discovers a time of electricity. Ladies, even casseroles cancannantes, have more frilly crinolines and alluring with a lot of whale carcasses: freed from the straitjacket of corsets, they are flexible Poiret dresses, asymmetrical sizes under the breasts, wrap coats-oval of great beauty, black, white, striped, spotted, checkered in shades of gray and beige with a rare elegance ( Gérard Audier ). Sign of the times, wears a hoop Metella external released her dress! And the grieving widow is making red underwear under her dress of mourning.

But the intelligence of Nadine Duffaut sensitive, so signing with her is if she plays the game of burlesque from these wealthy bourgeois or aristocrats, she does not forget the back decor This plump and prosperous society: as machinists, who occupy the front of the last scene, she shows the workings of the shadow who keep this society, workers, employees, newsagents, good, drunken prostitutes already ready to undress under the cloak, thief, police apparently a civilized society but merciless to the weak and poor who are living luxuriously in bad housing. Almost the wretched of the earth ... So that the comic travesty of the home for an evening Leatherheads is a sort of compensation, social vengeance but in fact many Cinderellas quickly returned to their original condition.

Interpretation

The trap of this type of work is formidable pass between the vocals and the spoken parts, which face little interest, not even a parody of mythological La Belle Helene , who at least entertains the mind. Very often it is paid for by a fall of rhythm, the tempo of a general heaviness. Fortunately, here conducting elegant of Dominica Trottein, of great alacrity, vivacity of all time, continues unabated this series of brilliant and vivacious seguidilla, waltzes, "gallops" savings Offenbach burdens that are too often overwhelms and staging subtly animates puts into music too, in successful reverse shots, the crowd of characters, singers, whose actions, steps are also dance steps: all singing and dancing as the characters are saying elsewhere. The cancan furious final with obligatory reference to Goulue and Valentin the Boneless (choreography Laurence Fanon performed by Eric Belaud ) is a natural extension and not a flat patch.

Any distribution if large, would be to quote a remarkable homogeneity scenic and vocal, plus choirs ( Aurore Marchand ) play in the true sense of the word, perfect their game . Too often, the number of singers is so important for a number of tunes devolved to each fairly small, one chooses to focus on their qualities as an actor than a singer, to the detriment of the music. Certainly, here, there are voices called Opera, and other, lighter operetta. But the first game does not overwrite the second and the latter are not negligible vocally, it creates a good harmony of the plateau should be emphasized.

Thus, the "pairs", couples, finally, what are the Baron and Baroness Gondremark ( Lionel Peintre and Lydia Mayo ), remarkable game and voice, he also formed by Bobinet ( Michel Vaissière ) whose clear voice and light of frivolity contrasted with that of Gardefeu ( Olivier Heyter ), dark voice of worldly stilted, full of pace before losing the figure taken his game but it is naturally the couple glover and bootmaker who is emblematic of the work: Caroline Mutel is mischievous Gabrielle and the very merry widow of Colonel and silky with a smooth tone, a voice soft and ductile, good conduct. Florian Laconi is its counterpart and hangdog Frick, mischievous and frustrating Alsatian before Prosper, smart, sharp, effeminate, fair and always funny, but in Brazil, he recites his famous air, dance and modern period oblige, much to the "gallop" at a breakneck speed: it's brilliant and admired the great lyric tenor, upsetting des Grieux, sparkling Vincent, who demonstrates a comic talent unmistakable. We must acknowledge, in passing, that loyalty Raymond Duffaut some artists he discovers and follows very young, bringing them slowly but surely toward major roles at the foot of the wall: often one of Orange. Programmed in various roles a season is a smart way to roam and live out the spirit of troops missing, alas, with them.

Metella, the Arlesienne of the work we are talking more than she sings, it's beautiful Patricia Fernandez timbre fruity and voluptuous. If one has the pleasure to hear, we must recognize that the air in the long letter does not need a big drama or musical. We laugh at the other pair mismatches between the old lady unworthy tart ( Frances Petro ) and the Minx surly tone which admits voluptuous desires that denies its mouth ( Murielle Oger-Tomao ). We also salute the beautiful Sophie Pauline Haudebourg , and bulk Ludivine Gombert , Isabelle Mompert , Wiebke Nolting and their cronies: Frank Licari ; Seince Xavier; Jean-François Laulan ; Anthony Abello . Hello to the ultimate virtuoso soloists cancan: Helen Francis , Egor Kornev .

La Vie Parisienne

Opera Theatre of Avignon, 30, 31 December 2010, 1 and 2 January 2011.

In co-production with Opera de Marseille, Opera de Nice, Opera de Reims Opera Theatre of Saint-Etienne , the Theatre du Capitole de Toulouse, Opéra de Toulon.

Orchestre Lyrique de Région Avignon-Provence and Chorus Master of Opera Theatre of Avignon and Pays de Vaucluse (Aurore Marchand).

Musical Director: Dominique Trottein; Directed : Nadine Duffaut; Choreography: Laurence Fanon.

Sets Emmanuelle Favre; Costumes: Gérard Audier; Lighting: Philippe Grosperrin.

Distribution:

Gabrielle Caroline Mutel; Metella: Patricia Fernandez, Pauline: Sophie Haudebourg; Gondremarck of Baroness Lydia Mayo, Madame de Quimper-Karadec: Frances Petro, Mademoiselle de Folle-Verdure: Murielle Oger-Tomao; Clara: Ludivine Gombert; Leonie Isabelle Mompert, Louise ;: Wiebke Nolting; Gondremarck Baron Lionel Peintre, Brazilian, Frick, Prosper Florian Laconi; Bobinet Michel Vaissière; Raoul Gardefeu Olivier Heyter; Urban, Alfred, a homeless : Frank Licari, Joseph Xavier Seince; Alphonse Jean-François Laulan; the Customs: Anthony Abello; cancan soloists: Helen Francis, Egor Kornev.

Photos: Cédric Delestrade / ACM-Studio / Avignon, BP legends

1. The shoemaker in the boot of glover: Laconi, Mutel;

2. A Brazilian sewn with gold and White wire: Laconi;

3. A widow more than tipsy funeral;

4. turquerie for little bourgeois gentlemen ;

5. Dance of divine bottle .