Alors qu’il triomphe actuellement dans le rôle-titre d’Ercole amante, Salle Favart, Nahuel di Pierro sort un disque qui lui permet de remonter à ses racines familiales. Natif de Buenos-Aires, il s’est fait connaître comme mozartien (Guglielmo, Leporello, à Aix-en-Provence notamment) ou rossinien (Assur à Nancy et à Pesaro), mais aussi comme interprète de lieder (un Winterreise donné à l’Athénée et commercialisé par B Records). On le découvre aujourd’hui chanteur de tango, avec le récital publié par le label Audax. Accompagné par un quatuor de guitaristes, il y a enregistré des titres composés entre 1916 et 1950, d’une voix caressante qui ne rappelle que par instants son timbre de basse d’opéra, mais où l’on devine une longue familiarité avec ce répertoire.
The first of this revival, which will include six performances, is marked by the entry into the pit of the institution's new director, Louis Langrée, placed for the occasion at the head of the Orchester des Champs-Élysées. The chef's great dramaturgical sense and his knowledge of the French repertoire favor a beautifully crafted reading, embellished by a certain art of nuance. We must warmly congratulate Les Elements, a choral ensemble that delivers moments of incredible delicacy. The nine voices together are very satisfying. Thus Nicolas Legoux's Polonius, elegant baritone that we will find luxuriously distributed in this very small role. Thus, again, of the two accomplices, in turn Marcellus and Horatio then gravediggers, encamped with advantage by the tenor Yu Shao and the bass Goeffroy Buffière. Thus, finally, the extremely clear and powerful Laërte by Pierre Derhet whose line is skilfully conducted. If we are much less convinced by the performance of Sabine Devieilhe in Ophélie too confidential and simpering a nothing, we applaud Laurent Alvaro in a Claudius of healthy firmness. After the cancellation of the Diotima Quartet concert last week due to a positive Covid-19 test by one of its members [read our columnof January 18, 2022], then the avalanche of pitfalls experienced by the Opéra national du Rhin, which nevertheless managed to ensure the premiere of the French creation of Die Vögel [read our column of January 19, 2022], the mezzo-soprano Lucile Richardot in turn reveals a contamination that we wish him to be asymptomatic. She is replaced by Géraldine Chauvet who lends Queen Gertrude a finely shaded timbre, capable of conveying the character's anxiety [read our chronicles of Reigen and Dialogues des carmélites]. Finally, two singers captivate the audience: Jérôme Varnier as a dark Specter, also served by an elongated physique with a serious face; Stéphane Degout, baritone-miracle of the title role, as he has often proven and still proves. The artists all display an exemplary diction in the service of a prosody that is not always simple, however. Special mention to Édouard Hazebrouck, one of the voices of the Elements, who, in the central pantomime, embodies a Gonzaga all of deceived loving sweetness.
Ambroise Thomas' opera Hamlet offers a large-scale musical score. To create it, the composer devoted about 8 years of his life to it, a time that is not negligible. Performed in cities around the world – New York, Barcelona, Berlin or Brussels – this opera captivates with its proposals. One of its singularities is the highlighting of the psychology of the characters. The political intrigue, very present in the original play, gives way to the feelings, to the neuroses that torment Hamlet and those close to him. If the psychology of the characters becomes the guiding thread, these are particularly touching thanks to the vocal capacity and the acting of the opera singers. Stéphane Degout interprets a baritone Hamlet which passes without difficulty from sadness to anger, from madness to drunkenness. He embodies his character in such a way that all his emotions are felt through his body, piercing him from all sides. Beside him the Ghost of the Fire King has a truly ghostly appearance. This is accentuated by the deep and slow voice of Jérôme Varnier which detaches and makes each syllable last. His way of posing his voice, his “non-melodic” score transforms him into a man straight out of his grave, into a successful specter. All the characters are richly interpreted, but there is one that particularly stands out from the others. Sabine Devieilhe offers a grandiose Ophelia whose sensuality and love she has for Hamlet are enriched by her soprano voice, her dazzling vocalizations and by her body which expresses all its fragility, its sweetness, its sadness. On stage, she dazzles with her simple presence. In this opera, she becomes a central character and Act IV is entirely dedicated to her. Only one on stage who transforms her into someone captivating, a siren whose song catches the listener. Ophelia eventually becomes that mermaid she talks about in a song – “The mermaid passes and drags you under the azure of the sleeping lake.” – and will end its life at the bottom of the water.
Jean-Fernand Setti possède une voix de stentor qui sied au personnage viril et fat d’Escamillo. Il chante son grand air avec une facilité confondante sur toute la tessiture et s’autorise même quelques nuances dans le second couplet.
“Musical wonderment such that it easily holds the attention for two straight hours.”
A brand new production, an older show: two possibilities to join the Favart hall this week, with the happy resurrection of an opera-ballet by Jean-Joseph Cassanéa de Mondonville, and the audiovisual adaptation of “Cabaret horrifique” by Valerie Lesort.
The sublime costumes of Vanessa Sannino , as majestic as they are exuberant
the beauty, energy and elegance of Lully's score are there
Le concert s’ouvre, solennel, sur le quatuor "Ah! sia maledetto" de Don Carlo, où brille notamment Nadège Meden, par sa voix ample et prometteuse.
C’est aussi l’occasion de découvrir Nadège Meden, grand lyrique plein de potentiel – et d’aplomb, dans une Abigaille aux aigus percutants.
On ne peut que louer la grande homogénéité du quatuor vocal réuni, avec Mary Plazas dans le rôle-titre, l’excellent baryton Peter Bording, la voix cristalline de Ilse Eerens et le chaud mezzo de Salomé Kammer.
Très à l'aise vocalement et musicalement sur une partition pleine de subtilités, les trois chanteurs, la soprano Ilse Eerens, la mezzo-soprano Salomé Kammer, et le baryton Peter Bording passent avec naturel d'un personnage – ou d'un animal - à l'autre. Peter Bording imite un chat avec pour seul accessoire un masque blanc qui s'envole dans les cintres lorsque le chat meurt.
