Recensioni di produzioni precedenti
10Avant Montpellier et Nancy, Lille présente la première création pour la scène lyrique de Sivan Eldar, passée par l’Ircam. Une expérience sensorielle à la fois écolo et high tech qui peut laisser le spectateur au bord du chemin forestier. Like flesh file la métaphore de la métamorphose – métamorphose de l’Homme (et en l’espèce de la Femme) au contact de la nature, et vice-versa, mais aussi métamorphose du genre lyrique confronté à de nouvelles ressources sonores et visuelles. Ce sont d’ailleurs Les Métamorphoses d’Ovide qui ont inspiré à la jeune compositrice israélienne Sivan Eldar (née en 1985) et à sa cadette librettiste britannique Cordelia Lynn ce drôle de drame dans lequel une femme échappe à son mariage déprimant en se transformant en arbre, objet de la double convoitise de son époux bûcheron et de l’étudiante hébergée dans la maison forestière.
L'Opéra de Lille présente (avant Montpellier en février et Nancy en octobre) la création "Like Flesh", premier opéra composé par Sivan Eldar (1985-), sur un livret de Cordelia Lynn (1989-), fable enracinée dans des problématiques éternelles et contemporaines, s’inspirant des Métamorphoses d’Ovide pour entremêler la question des rapports de dominations à l’œuvre dans les relations amoureuses et le désastre écologique.
You may not be in Paris or Berlin but, for Handel’s Semele, you cannot do better than the combination of Emmanuelle Haïm as conductor and Barrie Kosky as stage director. In any event, the Lille production came from the Berlin Komische Opera, though with a largely new cast. Kosky’s prodigious talents embrace interpretive imagination as well as mastery of stagecraft; and both qualities were well to the fore in this offering. Semele may have its comic moments, but, as the production demonstrates, it is a serious piece about desire and disillusion, relationships and social isolation. The scenic basis for a penetrating evening of music theatre was designer Natacha Le Guen de Kerneizon’s superb setting: a desolate abandoned property, badly damaged by fire, in which the mortals are enclosed, as if imprisoned by their past. The strewn ashes provide a pointer to Semele’s eventual fate at Jupiter’s hands. The atmosphere is murky and stultifying, notwithstanding frantic movements by the protagonists and the chorus of spectators. Thunder claps and some brilliant lighting effects (design Alessandro Carletti) indicate the presence above of the gods, though as we soon see, relationships there are no more comfortable.
Notice to counter-note fetishists: Susan Maclean , the Lady of this Macbeth presented in Lille until May 27, does not sing the high D flat which concludes the sleepwalking scene. At the risk of contradicting Renaud Machard who in 2009 on the occasion of the Parisian performances of Verdi's opera1, declared that it was impossible to conceive the role without this extreme note2, this does not prevent the American mezzo-soprano from proposing a striking interpretation of one of the most neurotic characters in the repertoire. Dimitris Tiliakos burns his last fires there with contagious conviction. We know the crushing role of Macbeth, especially with this additional arioso which at the end of the opera weighs down an already heavy score. Vocally, the Greek baritone finds more to exhibit in a room the size of the Lille Opera than in the vast hangar of La Bastille in 2009. We can finally appreciate the nuances and intentions with which he dresses a song which, was the length, might seem unattractive. Scenically, his Macbeth, a little awkward, lets himself be devoured by his Lady without it being possible to know whether or not this is a bias.
Like Milo Rau wringing his neck at La Clémence de Titus , by Mozart, in February, the Geneva stage invited us to a first scenic foray into the world of opera and another tussle with Dido and Aeneas , by Purcell, directed by the dancer and choreographer Franck Chartier , co-founder, in 2000, with the Argentinian dancer Gabriela Carrizo, of the Brussels company Peeping Tom . It is however clear that what appeared to us as a brilliant exercise of virtuosity in the first case touches on the masterpiece this time. Yet these are two radical rereadings, but one diverts the work while the other digs a channel in its meanders. Dido and Aeneashardly offers a plot. Dido, the queen of Carthage, loves Aeneas, the Trojan fugitive whom she has taken in and whom witches, using an evil charm, will push to abandon her. Dido will choose to die on one of the most sublime lamentations in the history of opera.In a huge, heavily paneled bedroom, with library and music room, topped by a parliament hall (a literal "parliamentary chamber") lives old Didi. A rich eccentric surrounded by politicians (the choir, servants and musicians, to whom she plays Purcell's opera over and over again), crazy about Queen Dido, whose deleterious loves and tragic destiny she endorsed. Terrific Eurudike De Beul, actress, performer and singer as we can see in a speech to her people modulated in the manner of a Sufi song of ecstasy. Thriller music invaded the space while, under a mountain of white sheets, contortions seem to mimic a sexual relationship. Didi will appear, legs apart, in the frustration of an unfulfilled desire before falling in love with one of his servants, a wounded man, survivor of war and fighting – a clone of Aeneas. The incidental music created by composer and cellist Atsushi Sakai will counterpoint Purcell's score, inserting itself into the interstices of the narration as well as into the recesses of Dido/Didi's psyche. A queen unable to love, eaten away by an erotic impulse that will end up destroying her. The text produced by the Peeping Tom collective portrays a woman of power, who will not hesitate to straddle her slender and Christ-like lover for a long time. An epileptic body alphabet Disarticulated, tortured, the choreographies are written in an epileptic bodily alphabet. Bodies thrown against each other. The strength of the show is that everything, visually, refers to the music. The tragic sometimes unravels in the grating effects of vis comica, like this woman à la Rossy de Palma moaning and barking when Purcell evokes the royal hunt which will separate the lovers. And what can be said of these suddenly gutted walls, of these windows opened by the wind, giving way to heaps of sand, which will end up invading the space, burying Didi, who dies, naked, on her bed, groomed by a servant, while Dido displays the splendours of her farewell to the world. During the cupids' final chorus, an amorous dance of death sees the woman devouring the heart of the man she loves. You have 35.45% of this article left to read. The following is for subscribers only. CONTENT SPONSORED BYOUTBRAIN Become a Data Scientist in 11 MonthsADVERTISING GREAT LEARNING Become a Data Scientist in 11 Months Dwayne 'The Rock' Johnson Buys Georgia Farm - The Home Was Built For Mr. Johnson’s FamilyADVERTISING MANSION GLOBAL Dwayne 'The Rock' Johnson Buys Georgia Farm - The Home Was Built For Mr. Johnson’s… 6 Actions to Invest in Nuclear FusionADVERTISING THE TECH INVESTOR 6 Actions to Invest in Nuclear Fusion Your car is in high demand! Sell at best priceADVERTISING SELLRIGHT BY SPINNY Your car is in high demand! Sell at best price ₹12,000 Crore US Lottery Now Also Available in IndiaADVERTISING THELOTTER ₹12,000 Crore US Lottery Now Also Available in India
C’est à Olivier Fredj qu’échoit la responsabilité d’une mise en espace, après son diptyque de belcanto The King and His Favourite / The Queen and Her Favourite à la Monnaie de Bruxelles en mars dernier. L’excès de froufrous ne sied pas à Tosca, il faut en revanche un souci de l’efficacité du drame. Là, tout y est, en costumes, par les regards, avec des chaises éclairées de rayons irréels entre la vie et la mort. La course implacable du temps face aux événements – caractéristique de la pièce – se traduit par l’affichage d’un horaire à chaque étape. La mort de Scarpia et la fusillade de Cavaradossi en sont deux ainsi deux temps forts dont le Chœur de l’Opéra de Lille, installé en corbeille comme des spectateurs en représentation, ne perd pas une miette. Le spectacle devrait d’ailleurs se dévoiler sous un autre jour lors de sa diffusion numérique, monté comme au cinéma et sans entracte. Ce langage théâtral de l’essentiel, mélangé à l’incroyable substance synthétique de la musique, fonctionnera à coup sûr !
Il y a des soirs comme ça où l’opéra, ça parait simple : prenez de bons chanteurs, un orchestre en forme, un chef plein d’allant, une mise en espace digne et sobre et n’était-ce la salle aux trois-quart vide pour cause de Coronavirus, l’expérience serait exquise. La mise en espace d’Olivier Fredj, prévue pour la captation vidéo est un modèle du genre : elle est traditionnelle sans être didascalique, elle est moderne sans être abrasive et dans ce grand plateau vide elle se concentre sur la direction d'acteurs dans un dispositif élégant.
