Opéra de Rennes / Recenzie

The co[opera]tive, which had already delighted us last year with a brilliantly dusted-off Petite Messe solemn , digs this promising groove with a high-flying Dame Blanche , which does justice to the original piece by reworking its elements dated to better highlight their qualities. A considerable success when it was created, François-Adrien Boieldieu's comic opera suffered – as is often the case in this repertoire – from texts that were unsuited to contemporary audiences. The rewriting of Pauline Noblecourt transforms his spoken passages into strong elements of the story, with many addresses to the viewer. Between humor and second degree, these underline with pleasure how much the subject is sewn with white thread and therefore, remind that the charm of the representation is to be found elsewhere than in the verisimilitude. It must be said that this entire village struggling to return the castle to its aristocratic owner to the detriment of one of their own is something to be dubious about! The decor by Irène Vignaud also fortunately abandons the first degree of a Middle Ages of cardboard in favor of a scenography of evocation, play, "one would say that one would be in a castle" which has the scent of childhood. These modernized elements respond happily to the interpretation of the Orchester Les Siècles on period instruments. If this choice impacts accuracy, which is more difficult to obtain, the tolerant ear is rewarded with warm, sensual colors and a delight of nuances. The visual dimension of the show reinforces the impression of a delicious fable since the costume of each character evokes an animal. The starting point of the reflection of the costume designer, Cindy Lombardi, was undoubtedly the title of the work since the white lady is the other name of the barn owl. The peasants logically form a faunal herd, a reference both to their gregarious and pleasure-loving character. They don kilts since we are in Walter Scott's fantasy Scotland. The hero, meanwhile, adorns himself with rooster feathers, just like the conductor, king of a musical barnyard. The first air of the old nurse evokes her bobbins; guardian of the uninhabited castle, she is of course aragne in her canvas while the "villain" of the story evokes a sumptuous beetle. The mixture of contemporary elements, traditional clothing, feathers and wigs transforms improbable associations into a stunning success. With pleasing plumage, song to match: the scenic stage brings together formidable artists who serve with obvious jubilation the spirited staging of Louise Vignaud . Remarkable director of actors, endowed with a perfect sense of rhythm, she comes from the world of theater and makes here for the first time incursion into the lyrical universe. She draws each character extremely precisely, including the members of the chorus of the Cortège d'Orphée , vocally and scenically stunning. They offer us nuanced, comical and very human reactions. The group is led by an enthusiastic peasant couple: La Jenny by Sandrine Buendiais a model of fantasy, joie de vivre, comic precision and prides itself on delicate piani and impeccable vocals. Fabien Hyon responds to him with energy, with his brilliant projection and his well-camped bass. The rather clear timbre of the two artists is also that of the other couple of the evening, which creates a nice unity and serves the perfectly oiled ensembles that dot the evening. Sahy Ratia shines particularly in the demanding role of Georges who connects the tunes and the difficulties. Like last year in the Petite Messe solennelle , its so Rossinian tone enchants, while the naturalness of the issue as of the scenic incarnation inspires. His rival, Yannis François , is a formidable actor on the bass of a beautiful verticality. For her part, Caroline Jestaedt , the White Lady, does not demerit, with a very pretty timbre, acrobatic vocalizations tuned to the line, but a je-ne-sais-quoi in the incarnation which seems a (small) notch below of the core of the team. This is also the case of the Marguerite, a little wise in the eye as well as in the ear of Majdouline Zerari . Start-of-tour jitters perhaps? They will have the opportunity to gain confidence since the audiovisual project, born of necessity and to be found in replay, will not deprive the White Lady of a fine tour of twenty dates next season, on the stages of the six members of the co[opera]tive , Quimper, Dunkirk, Besançon, Compiègne, Tourcoing and Rennes for the end of year celebrations.

On the evening of the premiere of La Dame Blanche , December 10, 1825, the musicians of the Opéra-Comique came to serenade François-Adrien Boieldieu under his windows. When it came to having everyone go up to the Maestro , there were problems with space. Gioacchino Rossini , who lived in the same building, opened his apartment and it was at the champion of Latin clarity that the triumph of the vogue for ghosts and haunted (Scottish) castles was celebrated. Because at the time, opera was fashionable and Walter Scott was all the rage. The White Ladyalso consecrated the success of French comic opera, which was to experience its great days, at the same time as that of Boïeldieu, whose career, which began during the Revolution, was already dotted with fine successes in the gracious genre which were entitled My Aunt Aurore or Cars paid . Returned to the poster at the Opéra-Comique last February (in a staging by Pauline Bureau which will be revived next January at the Opéra Nice Côte d'Azur ), the work seems to be regaining favor today of our French theatres, as evidenced by this new production by the Opéra de Rennes (in co-production with the Co(opera)tive), entrusted to Louise Vignaud and finally broadcast on Facebook Watch , since the performance halls will have to remain closed until at least next January 7 ... And if the work is not often played, the problem does not seem to come from the score: the Rossinian accents, the licked orchestration, the melodies that are hummed at the exit still have everything to please... The problem is that the libretto turns out to be a challenge to the goodwill of the directors and the spectators: this story of the heir to a great Scottish family, unaware of his true identity, who finds himself unintentionally in the castle of his ancestors and decides to redeem it with the discreet help of a young orphan girl he has been in love with since she saved him after a battle… ready to smile kindly. But the ridicule culminates when the young lady disguises herself as a ghost (the famous "White Lady") to give him advice without him recognizing the object of her flame...Louise Vignaud , from the world of theater and who signed her first lyrical management there, transformed the story into an animal tale. She started by having the dialogues rewritten (byPauline Noblecourt), on the one hand to modernize them, but also to add more humor to this preposterous story, with many winks and asides for the attention of the spectators ( ultimately absent). The scenography imagined byIrène Vignaudrefers to a fantasized and cardboard Scotland and Middle Ages, which has something to do with our childhood. But the main thing here, in addition to the director's sharp acting direction, are Cindy Lombardi's many colorful and zoomorphic costumes., which all evoke such and such an animal: a barn owl for the White Lady, a rooster with sumptuous plumage for the hero (like the conductor!), a spider for Marguerite (the old guardian of the castle), a beetle for the wicked Gaveston, while the excellent chorus of the Cortège d'Orphée are fauns sporting horns… and kilts! Malagasy tenor Sahy Ratia (who gave us a brief interview ) here confirming the hopes born of his Nemorino at the Avignon Opera last year. In addition to a very sure technical approach, he has the exact vocality of the role, with colors full of diversity, and a vocal texture that knows how to bend to the different facets of Georges Brown, the perfect type of comic opera tenor. as it fits into the aesthetics of the first half of the 19th century, combining elegiac song, distinction and flexibility of line, precision of line and ornamentation. With so many qualities, he makes short work of his two tunes “ Ah, what a pleasure to be a soldier! » and the famous « Come, kind lady ”. Kudos to him! In the role of Anna (the White Lady), the young Belgian coloratura soprano Caroline Jestaedt plays with her character's vocalizations, but on the other hand still lacks real scenic weight, which she will undoubtedly acquire with more experience. from the scene. The charming soprano Sandrine Buendia , who we liked so much at the beginning of the season in Despina ( Cosi fan tutte ) at the Théâtre du Capitole , is a mischievous Jenny with a timbre of a certain quality in the medium and an appreciable agility in the vocalizations, while Fabien Hyon portrays a beautifully crafted Dickson, full of spirit, always precisely dosed. For his part, Guadeloupean baritone Yannis Françoislends its tall silhouette to Gaveston, as well as its beautiful bass, but the high register proves more problematic. Finally, Majdouline Zerari delights us, with her golden mezzo, in her aria “ Light spindles, turn ”. At the head of an Orchester Les Siècles reduced to nineteen instrumentalists (both to respect health rules, and because the show is intended to tour thereafter almost everywhere in France), Nicolas Simon (associate conductor of the "period" phalanx since 2014) offers a precise, dynamic, spirited and humorous direction. Can't wait for the Nice takeover of this endearing work!

It’s a tradition by now: every two years, the Opéra de Rennes shares its end-of-season production with a large public outside the opera house: telecasts to thirteen Breton towns, live stream on France Musique, and transmission to a big screen right on the square outside of the opera house – everyone is invited to celebrate opera this day. Rennes, by the way, is the only opera house in France to offer such a possibility. Rossini’s Cenerentola being a feast in its own right, it takes only an intelligent staging and cast for the celebration to be a success. This version of the Cinderella story, let’s remember, is slightly different from what Perrault or the brothers Grimm tell us: The prince and Cinderella meet for the first time in Cinderella’s house, before the ball, and fall in love at first sight. No fairy godmother,no enchanted hazel bush for Cinderella to help with preparations for the ball, but the prince’s tutor, Alidoro, a wise and gentle magician. And Cinderella doesn’t have a vicious stepmother, but a greedy and selfish stepfather. The Cinderella story, come to think of it, is more that just a silly fable to remind girls to be good at all times. The lateJérôme Savary’s staging respects its tender and deeper side. Resuscitated by Frédérique Lombard, charming and witty, it is situated in the 19th century. The colourful costumes contrast deliciously with the lovely trompe-l’oeuil backgrounds, all in subdued colours. From the overture, the Rossinian spirit is fully present. Darrell Ang conducts the Orchestre Symphonique de Bretagne with precision and finesse in the complicated score with its many tempo and intensity changes. Once or twice, the orchestra covers the singers a bit, but on the whole, stage and pit are finely united. The woodwinds, especially, are much in demand and rise up to the challenge with brio, as always. The two sisters are making a remarkable entry. Anna Steiger, Tisbe, and Jeannette Fischer, Clorinda, are stealing the stage a bit, they are so funny and present, ridiculously capering and cooing, that one almost forgets their remarkable singing. Strawberry and apricot, they are the fruits of the party. Just like the spoilt children they are, they are commenting on every word, every dialogue of the adults, calling their presence to mind every moment. It would be too much, were it not so well done, for instance when Clorinda does the old Harpo Marx stunt and tries to get everyone she meets to hold up her knee. Very fortunately, the rest of the cast is perfectly up to the challenge. Angelina, la Cenerentola, is played by the wonderful mezzo-soprano José Maria Lo Monaco. With her light and ample voice and its soft and golden timbre, she is an ideal Cenerentola, modest and innocent, yet very much present. Pure caramel with salted butter! Well one understands the prince Ramiro who falls in love with her on first sight. Tenor Daniele Zanfardino gives him life and voice. Suave and energetic, an accomplished belcantist, he masters all the difficulties of the part. Mint and chocolate ice cream: who’d have thought that this would go so well with the caramel! The duos are simply delicious, their voices blending together so harmoniously. Another variation from the original story is the character of Dandini, the prince’s valet. He has to change clothes with his master, in order to find out the real character of the two engaging maidens. The excellent baritone Marc Scoffoni plays him with a kind of comic grace that would also suit an Offenbach opera. A real dandy, he swaggers and dances and prances like a circus horse, seemingly having royal fun all the while. Fine and crisp, here is an apple tart for you. Bruno Praticò, baritone, plays Don Magnifico, the greedy stepfather. An experienced Don Magnifico, he is goofy and yet touching. A glass of red wine, Montepulciano maybe, light and earthy. Luigi de Donato, bass, last but not least, interprets Alidoro. With his warm and soft voice, pure musical chocolate, he delivers his grand aria in Act II with energy and resounding low notes. Delightful, how he sketches a few dance steps with Angelina during the postlude. Delightful, the choreographies by Frédérique Lombart. The choir, conducted by Gildas Pungier, is magnificent, precise and musical, as usual. All in all, a lovely Rossini evening, that ends with largely deserved huge applause, and one regrets not to be able to attend the grand telecast night.

Thursday, May 28, 2015, several music lovers had the chance to attend the premiere of La Cenerentola by Rossini at the Rennes Opera. Rejoice, Rennais: this jubilant fairy tale à la Jérome Savary is given again on Saturday May 30, Monday June 1, Wednesday 3 and Friday 5 at 8 p.m. with a simultaneous broadcast at Place de la Mairie (and in 14 other cities of Brittany). The indication chosen by Rossini for this major work of his repertoire has something contradictory about it, it is described as “Mélodrama giocoso”. Concept not easy to grasp, a melodrama having nothing that provides a particular enjoyment. Yet with this Italian Cinderella, the idea is gaining ground.opera reindeer cenerentolaBetween the somewhat tragic destiny of this poor young girl and the grotesque adventures that accompany the acts of her stepfather and her two half-sisters, the antithesis becomes more obvious. If you add to that the talent of director Jérôme Savary, you get a most entertaining evening that you can still enjoy. Our little theater in Rennes is buzzing with impatience as the musicians of the Orchester Symphonique de Bretagne tune in before welcoming the arrival of conductor Darrell Ang. Plus one free seat, which is quite normal on a premiere night. Instead of the usual curtain, a huge fresco or two castles face each other, perched on high wooded hills. The show begins with a long opening. It looks like a presentation of everything that will be developed next. From dark and slow notes, we pass to powerful and incantatory lyrical flights followed by melodiesopera reindeer cenerentolaare bouncing, punctuated by the calls of the oboe and the pizzicati of the violins. Make no mistake, it's Italian! It is with the two wicked sisters of Cinderella that we immediately meet. Anna Steiger, in the role of Tisbé, accompanied by Jeannette Fisher, who for her part interprets that of Clorinda. If the two were part of the initial distribution, during the lifetime of Jérôme Savary, it must be recognized that Jeannette Fisher knew how to preserve her energy capital in a truly breathtaking way. She plants us a splendid split, indulges in all sorts of pirouettes and antics, often throwing herself to the ground (a little too much), and getting up like a kid, she is amazing. Vocally, she has lost none of her qualities and imposes with incredible energy a burlesque character, thundering and seeming by her appearance straight out of a Walt Disney cartoon. CinderellaIt is the interpreter José Maria lo Monaco who will bring us the answer. This charming Sicilian singer, young and graceful enough to suggest a young girl in a credible way, plays her role pleasantly, her voice is commensurate with the dimensions of the Rennes opera, but she does not hesitate to demonstrate during certain passages that She is perfectly capable of giving power. She knows how to use the ornaments so specific to Italian music with moderation and thus avoids the painful rantings of certain "prima donnas" that are unpleasant to listen to. It is a similar remark that accompanies the interpretation of the Neapolitan tenor Daniel Zanfardino. He is perfectly in his place in this role and in this opera house. Holding beautiful treble with pride, he portrays a touching and sensitive character and his tenor voiceCinderella rennesRossinien is worthy of praise. His duets with José Maria do Monaco will be beautiful moments of emotion throughout the work. The character of Don Magnifico, interpreted by Bruno Pratico is a little more questionable. His voice is not always pleasant and seems pushed to its limits. But we must do him justice, from a strictly theatrical point of view, he wins the prize hands down, obviously experience speaks for itself. His Don magnifico is earthy, ridiculous, angry, pot-bellied at will, servile when necessary and his mere arrival on stage in a free-falling elevator makes him sympathetic to us. Theatrically, he is followed by a regular in the place in the person of Marc Scoffoni. opera reindeer cenerentolaThe devil of a man surprises us, it was not easy to consider him in this kind of role and yet he really comes out with the honors. Pushing the analysis a little further, it is fair to recognize that Marc Scoffoni has a real talent when it comes to making people laugh. It is perhaps in his Marseillaise roots that one should seek this aptitude for communicative good humor, but his success is not limited to his gifts for the theater, it is also linked to his performance as a singer which is everything quite commendable, it is fair to point this out. His "Dandini" very close to Scapin and Leporello is a key character in the drama and Marc Scoffoni embodies him with great authority. We have almost made the rounds of the actors of this entertaining farce, only we miss Alidoro, the philosopher, proudly camped by the Italian bass Luigi di Donato. Already widely acclaimed during his interpretation of Zoroastro from L'Orlando by Georg Friedrich Haëndel, he came back boldly to impose his imposing stature and his beautiful deep voice to the delight of the Rennes public happy to find a popular singer. cinderella operaSo many reasons to be satisfied, but since we are drunk… let's examine the bottle…. Sets and costumes by Ezio Toffoluti serve the play perfectly. From the dark interior where Cinderella withers to the pretty Roman gallery where the drama unravels, everything is balanced and sufficient. The costumes cleverly underline the personalities of the speakers, from redundant to grotesque, they know how to be wise and elegant to highlight particular psychological aspects. The message is not subliminal, but gives a readability that contributes to the fluidity of the show. The staging by Jérome Savary, taken over by Frédérique Lombart is in correspondence with the character and in perfect harmony with what is his true artistic testament. A total, jubilant theater open to all. There would still be many things to say…the chorus of the opera…properly formidable, confirming all the good that we had thought of it during its moving interventions in a Lohengrin made unforgettable. The figuration itself is a success, the arrival on stage of charming young girls still teenagers sometimes dressed as servants sometimes made up as lackeys andCinderellat all more charming than the other, then little girls between six and eight years old, delighted to come on stage to dance with the adults, everything is refreshing and gives this show a mixture of childlike grace and deep humanity. Don't worry, we weren't going to forget our dear Brittany orchestra. To tell the truth, it is he who is somewhat forgotten, hidden in his pit where he does not fail to be copiously smoky. He puts himself so totally at the service of a show that captivates the public that we forget him a little. It's unfair, but in any case the job is done and well done. Besides, the time will not seem so long to us. If you consider that the first act lasts an hour and forty-five minutes and that after half an hour of posing, the second takes you on for another full hour, it is desirable to be caught up in the scene. This is what is happening and from the youngest to the grandparents we all find ourselves like children.opera reindeer cenerentolants eager to know the rest of the story and in no hurry to see it end. Magic of fairy tales… Thank you, Mr. Perrault! The greatest pleasure is to know that, in addition to the other performances, on Friday June 5 at 8 p.m., it will be possible for everyone to go and attend the free performance given on the big screen on the Place de la Mairie in Rennes. Don't go thinking that opera is not for you, try it as one tastes a delicacy for the first time, you will perhaps discover the lyrical art lover who is in you. To be continued… !

With pleasing plumage, ramage to match: the stage brings together formidable artists who serve with evident jubilation the lively staging of Louise Vignaud . Remarkable director of actors, endowed with a perfect sense of rhythm, she comes from the world of the theater and makes here for the first time in the lyrical universe. She draws each character in an extremely precise way, including the members of the choir of the Parade of Orpheus , astonishing vocally and scenically. They offer us nuanced, funny and very human reactions. The group is led by an enthusiastic farmer couple: La Jenny by Sandrine Buendiais a model of fantasy, joie de vivre, comic precision and prides itself on delicate piani and impeccable vocalizations. Fabien Hyon gives him the reply with going, his brilliant projection and his deep bass.

We expected to discover La Dame blanche at the Imperial Theater in Compiègne in early November, before she left on tour, but the damn virus once again decided otherwise and thwarted the normal course of things. All did not fall apart, however: the work of the team brought together by the Co [opera] tive was able to find immediate concrete expression, thanks to its recording at the Opéra de Rennes and its retransmission, the December 11, as part of “L'Amour de loin”, a digital festival created by orchestras and opera houses that are members of the Musical Forces. In the room, where we were able to slip the day before the broadcast, as on the screen, the quality of the show signed by Louise Vignaud, a young director from the world of theater, and directed by Nicolas Simon wins without discussion. After Rossini's Petite Messe solennelle last year, this Boieldieu is added to the Co [opera] tive's list of successes. Simplicity and elegance of the scenography (by Irène Vignaud, with very beautiful lights by Luc Michel): La Dame blancheaccording to Louise Vignaud responds perfectly to the specifications of the company founded by Loic Boissier in 2015 and seduces by its inventive economy of means and its fluidity, as much as by the youthful look brought by the rewriting of the dialogues (welcome the opportune shortening of those of Act II, interminable in the original version) and the introduction of welcome sides between certain characters and the public. No downtime in the unfolding of a score that Louise Vignaud transposes into an animal world - a treat for Cindy Lombardi, inventive costume designer, and leaving for the eye of the beholder The liveliness of the images responds to the energy of real troop work. The distribution, very homogeneous, first confirms the talent of Sahy Ratia ( photo on the right ), a young tenor of Malagasy origin (born in 1991) in full flight whose Georges Brown wins the bet, dashing, seductive and a radiant stage presence. From this point of view, as on the vocal level, Fabien Hyon ( photo at g., Dikson) and Sandrine Buendia (Jenny), ideally paired, deserve nothing but praise. Even if Caroline Jestaedt shows a little fragility at times, the charm of her Anna, hidden behind a white owl mask, is undeniable. In Gaveston, Yannis François offers a singular incarnation, full of slyness and more complex than is usual for this role. Majdouline Zerari (Marguerite) and Ronan Airault (Marc-Irton) do their jobs very well, while the singers of the Cortège d'Orphée (dir. Anthony Lo Papa) make a major contribution, both through voice and stage performance. to the dynamism of the show. As for the pit, where Nicolas Simon (2) leads nineteen instrumentalists from Les Siècles (the composer Robin Melchior signs a remarkable orchestral arrangement), all there is is life, speed, enthusiasm, color, commitment - and attention to the stage! The recording broadcast on December 11 remains available for free in replay. As for the production tour, it is postponed to next season and we already know that this delicious animal Boieldieu will stop over in Rennes at the end of 2021 during the holiday season.