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Biography  Laurent Kubla began his vocal studies with Italian tenor Carlo Bergonzi, and Italian bass Bonaldo Giaoitti. At the age of 27, he met Italian baritone Enzo Sordello, with whom he continued to develop his vocal technique until the Maestro passed away in 2008. He then pursed his studies with Belgian bass-baritone Nicolas Christou....read more

Representation details:

Jérôme Angot Artists Management

Biography  Laurent Kubla began his vocal studies with Italian tenor Carlo Bergonzi, and Italian bass Bonaldo Giaoitti. At the age of 27, he met Italian baritone Enzo Sordello, with whom he continued to develop his vocal technique until the Maestro passed away in 2008. He then pursed his studies with Belgian bass-baritone Nicolas Christou....read more

Representation details:

Jérôme Angot Artists Management
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  • Repertoire (14)
Composer & WorkRoleProductions
Adam,A
Le Postillon de LonjumeauBijou1
Biju/Alcindor1
Auber
Le Domino noirGil Perez2
Beethoven
FidelioDon Fernando1

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Reviews

For his first lyrical staging, Christian Lacroix takes up the challenge hands down, signing a chic and sparkling show like a glass of champagne, which we will soon see in Tours and at the Théâtre des Champs-Elysées. It is always exciting to discover the never-before-seen version of a masterpiece, especially when it plunges us into an atmosphere far more hectic than the one we currently endure… La Vie Parisienne as we knew it was in fact a truncated version: thanks to the Palazzetto Bru Zane for having given itself the task of restoring the score originally imagined by Offenbach and his librettists in 1866 ( note that the offenbachologist Jean-Christophe Keck also claims the rediscovery of most of the additions). We are thus invited to discover sixteen new pieces, arias and ensembles, where the composer continues to sketch the customs of his century. Certain passages are particularly tasty, such as the hilarious horde of German shoemakers opposed to the Marseilles gloves demanding bouillabaisse. Act III is totally metamorphosed, while IV now has the merit of clearing up a somewhat wobbly plot and giving the characters a new depth. As a bonus, she offers Ingrid Perruche the opportunity of a hilarious stage performance, like a Lady of the World willingly slammed. And then, how to resist this trio of masks and this appearance of the Commander of Don Giovanni in the last act? Champagne! Directing Offenbach is a difficult task: you have to find the right balance between joy, lightness and melancholy, without falling into vulgarity. Christian Lacroix, whose first experience in this field is, takes up the challenge with flying colors. Everything about this evening is chic and sparkling like a glass of champagne. It's hard to find a more elegant, lively and lively spectacle! Unsurprisingly, her costumes, from indefinite eras, are absolutely sumptuous and full of fantasy. The couturier made the choice of a “spatiotemporal bubble in equilibrium between two centuries”, as he puts it so nicely. He did not look for any resonance of the work in our time: a few palisades of works will be his only wry nod to the current state of Paris. The unique and metallic decor of alla Eiffel is effective, If the show takes a little time to start, the sauce ends up taking, thanks to the virtuosity of actor-singers overflowing with energy, but also of dancers participating in the mirth of the whole - these handsome fellows often disguised knowing easily delight the public. The Baron by Franck Leguérinel, whose allure and accent can evoke Offenbach, is totally in his element and seduced by his stage presence, as is the Gardefeu by Flannan Obé whose experience as a theater actor is tangible. His sidekick Marc Mauillon (Bobinet) is not left out. If Eric Huchet has a rather good presence as a German shoemaker, his Brazilian, whom he has not slaughtered, is not flamboyant enough. Chic and elegance Florie Valiquette's glove plays with ease with vocals and treble but definitely lacks volume, a flaw that she shares with Elena Galtiskaya, Pauline with a velvety voice, but not very full. Marion Grange is a charming and very wise baroness while Aude Extrémo plays a luxury Metella with a particularly voluptuous mezzo. All this small world, swirling and communicating in excellence, is led by a dashing Rouen Normandie Opera Orchestra, to which the musical direction of Romain Dumas infuses energy, liveliness and brilliance. It is all the chic and elegance of our little Mozart des Champs-Elysées that is expressed in this show called from now on to delight Tourainees and Parisians before the end of the year.
Julia Le Brun, DIAPASON MAG
La Vie parisienne d'Offenbach has a complicated history: refused in its original form in 5 acts by the singers of the Palais Royal in 1866 because of its vocal difficulties, it will be amputated a few tunes for its creation, then again modified to several times to end up in 1873 with a version in 4 acts, given at the Théâtre des Variétés, expunged of its Germanic references. Thanks to the tireless musicological research of the Palazzetto Bru Zane, it is the original complete version, reconstituted and unpublished, deposited at the censorship office on August 29, 1866 which is presented to us, with no less than 16 rare and unknown pieces to discover in this version. restored in 5 acts. For a trial run, Christian Lacroix undoubtedly succeeds in a master stroke with this delirious staging where everything is a pretext for laughter, dancing and singing. The rich scenography is particularly successful with a notable economy of means (a metallic decoration at the Eiffel Tower and an elevator, a few armchairs and hangings sufficient to define the different places), the extravagant and colorful costumes bear the mark of the designer, the judicious lighting and the well-regulated choreographies participate in the celebration, the direction of the actors is of a breathtaking virtuosity without downtime, like so many music hall numbers succeeding each other over the acts, with many winks referring to the drawings animated, circus, and even Mozart ... The cast calls on performers experienced in the practice of operetta, singers of course, but also confirmed actors, which gives the entire show a beautiful overall homogeneity despite some isolated vocal disparities and some shifts with the orchestra. in fast passages where prosody becomes particularly perilous. The male trio made up of Flannan Obé (Gardefeu), Marc Mauillon (Bobinet) and Franck Leguérinel (Le Baron) lead the vaudevillesque intrigue beating drums. Aude Extrémo (Métella), Marion Grange (La Baronne) and Florie Valiquette (Gabrielle, the glove) provide brilliantly, vocally and scenically, the female counterpart.Eric Huchet irresistible as a Brazilian struggles to accept the rhythm imposed by the orchestra in his famous aria, but finds the shoe to suit him in the role of shoemaker Fritz. Ingrid Perruche does a great act as Madame Quimper-Karadec in act IV (recreated for the occasion). The often multiple secondary roles played by Philippe Estèphe , Carl Ghazarossian , Elena Galitskaya (suffering) vocally supported by Louise Pingeot and Marie Kalinine happily complete this cast. In the pit, Romain Dumas leads all these beautiful people, orchestra and singers, with enthusiasm and enthusiasm throughout this crazy Parisian life that we can also find in Tours, soon, and at the Théâtre des Champs-Élysées for the holidays. the end of the year.
Patrice Imbaud, RESMUSICA

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