Kommende Produktionsrezensionen
3Il faut dire que Francesca Pia Vitale a beaucoup d'arguments. Soprano colorature, elle offre toutefois plus de volume et de rondeur que les autres tenancières du rôle, ce qui est une belle surprise. Flamboyante, ses caresses vocales sont d'une sensualité dévastatrice. D'autant que le jeu de scène est aussi piquant que drôle. Une belle découverte
Francesca Pia Vitale est quant à elle une Musetta aussi pimpante que délicate, notamment dans un « Quando m’en vo » subtilement coloré.
Frühere Produktionsrezensionen
19Il faut dire que Francesca Pia Vitale a beaucoup d'arguments. Soprano colorature, elle offre toutefois plus de volume et de rondeur que les autres tenancières du rôle, ce qui est une belle surprise. Flamboyante, ses caresses vocales sont d'une sensualité dévastatrice. D'autant que le jeu de scène est aussi piquant que drôle. Une belle découverte
Francesca Pia Vitale est quant à elle une Musetta aussi pimpante que délicate, notamment dans un « Quando m’en vo » subtilement coloré.
Servie par une excellente direction d’orchestre et un plateau homogène, la production de Jean-Philippe Clarac et Olivier Deloeuil actualise sans le trahir le conte lyrique de Dvorak.
La voix joyeuse est ornée dans les aigus, le chant est bien rythmé, mais à peine apparue, la soprano s’en repart en courant de la scène pour se changer et revenir par la suite, cette fois-ci dans une robe couleur parme, en Violetta pour un "Sempre libera" clair et équilibré, interprété avec beaucoup de justesse et de précision. Le phrasé est délicat et le public profite avec plaisir de son timbre frais et cristallin. Hormis la gestion du souffle, qui lâche de temps à autre en fin de phrase, Yae-Eun Seo est une Violetta mesurée tout en restant émouvante, et il en est de même avec sa Gilda pétulante transportée de joie et de douceur.
Parmi les seconds rôles affutés se distinguent le ténor Mitesh Khatri (Sportin’Life – artiste du Chœur) et la pétillante mezzo bordelaise Amandine Portelli (Maria – élève au conservatoire de Bordeaux dans la classe de chant de Maryse Castets et membre de l’Académie de l’Opéra National de Bordeaux pour la saison 2022/2023)
Like last year, the Opéra national de Bordeaux opens its season with Offenbach, an initiative that resonates with the celebrations of the bicentenary of the German adopted by France during the Second Empire. The essential interest of this new production of Les Contes d'Hoffmannis due first of all to the choice to get closer to the original intentions of the composer, sometimes extrapolated in the traditions, the death of Offenbach before the first performances did not allow to stop a final state of the score which would have passed the ramp of the repetitions – stage where the master used to perfect his copy. Edited thanks to the joint work of Jean-Christophe Keck and Marc Minkowski, the present version, presented in 2012 in concert at the Salle Pleyel, is given for the first time on stage. The coherence of the vocal kaleidoscope is found in the fleshy homogeneity of Aude Extrémo in Muse and Nicklausse as in ghost of the Mother, without the French mezzo artificially discriminating the gender of his appearances – the feminine allure of the three solves the problem conventions. If the years polish the solid aplomb of Nicolas Cavallier, his diabolical quartet, from Lindorf to Dapertutto via Coppélius and Miracle, never lacks bite, magnified by an irreproachable declamation. With greedy sobriety Marc Mauillon details the infirmities of Frantz and Cochenille, without forgetting Andrès and Pittichinaccio. Éric Huchet slips with sure instinct into the clothes of Nathanaël and Schlémil, while Christophe Mortagne's Spalanzani completes a gallery of tenors with recognizable identities. Also a Luther, Jérôme Varnier imposes a paternal Crespel with sometimes almost patriarchal tenderness. We should also mention the valuable interventions of Clément Godart (Hermann, Wilhelm and Captain of the Minions). Prepared by Salvatore Caputo, the Chorus of the Opéra national de Bordeaux invests in its office.
Dans le rôle-titre féminin (Didon), la jeune mezzo-soprano Amandine Portelli livre une prestation déjà bouleversante. À 19 ans, elle affiche une voix profonde et riche d’une grande maturité. Future Dalila certainement, elle n’oublie pour autant pas que le répertoire baroque exige une autre mesure de vibrato et de jouer avec l’acuité du placement vocal. Il en sort une voix plastique, souple et agile qui ne perd jamais son accroche, et donc, sa justesse. Dans la noirceur de ce timbre, dès les premières notes, le sort funeste de Didon est annoncé. Une première intervention qui résonne sans difficulté dans toute la salle, et sera confirmée sur toute l’étendue de la voix, jusque dans les aigus déchirants de l’air final (When I am laid in earth), évidemment très attendu.
On n’oubliera pas de sitôt, dans un rôle d’ordinaire confié à une mezzo, le troublant double du Démon, l’Ange blanc de l’américain Ray Chenez, révélation d’un haute-contre aux décibels assurés.
Through this title-pun (between the name of the composer Händel and the English verb homophone handle meaning to manage, to hold, to assume) the countertenor confides at the same time his concern to manage to propose this concert already postponed (so many concerts were canceled due to the health crisis) and his love for Handel is widely represented in the program. It is on familiar ground that he approaches the evening and the stage of the Théâtre des Champs-Élysées , once again teaming up with the Il Pomo d'Oro ensemble in a program of tunes from his repertoire, some in staged productions ( Rinaldo , Unulfo de Rodelinda and Tolomeo) as well as two final arias by lesser-known composers, Luca Antonio Predieri and Giuseppe Maria Orlandini, taken from the album Facce d'Amore. This album, added to two others, Anima sacra (already released) and Anima Aeterna (scheduled for next October) confirms her regular collaboration with Il Pomo d'Oro . Reunited again this evening, the artists present a rigorously structured program following an implacable logic: a slow tune, a lively tune and an instrumental piece. Jakub Józef Orliński appears as an artist who knows how to create bridges between the baroque world where he draws most of his repertoire and the current world giving real importance to the visual. A video viewed millions of times online (" Vedro con mio diletto " from Il Giustino by Vivaldi) as the work of the image in his clips highlighting his athletic body recall his joint activities as a model and a break-dancer. He presents himself this evening in a costume reminiscent of the color of the string instruments that accompany him, thus mingling with the instrumentalists and highlighting how much the singer's instrument is his very body. However, it is his singing talents that are honored that trigger the public's approval after each of his tunes. Tolomeo 's story " Che piu si tarda omai " begins the concert with a touching engagement, the countertenor embellishing the text with a thousand nuances. The slow airs reveal his great sensitivity, his ability to nuance his singing and to bring the long held messa di voce to life (sound started at the piano and which intensifies to the forte before decreasing again), revealing the elasticity of his phrasing and the length of his breath. " Cara sposa " reaches an expressive climax with Rinaldo 's long lamentsdesperate to have lost his beloved. In great physical stability, he confidently plays the vocalizations of the airs of bravery, favoring homogeneity over violence (" Furibondo spira il vento ", the wind blows violently). Without ever leaving the beautiful sound, it reaches the chest register to highlight the pain in the aria of Predieri 's Scipione (" Sente all'ora il suo dolor "). With humour, he even varies the cadences of his baritone voice, unbuttons his jacket before each virtuoso tune (arousing laughter from the audience). His clear voice with restrained vibrato reinforces his youthful aspect and it is with a big smile that he affirms his joy at being there this evening, humbly receiving the ovation of the room.
Passing through the Great State Apartments, the viewer (re)discovers the splendor of the Hall of Mirrors at the Palace of Versailles . Sitting down, he awaits the start of the concert, enjoying the sunset, on his right above the Grand Canal and the gardens. Already, the visitor can only be conquered. When the musicians of the Il Pomo d'Oro ensemble and the countertenor Jakub Józef Orliński rise on the high platform, thus tickling the imposing chandeliers, the public cannot let out their warm applause, which does not leave the young singer indifferent. Quickly, the instrumentalists begin and Orliński takes the features of Endimione for the first aria " Erme e solinghe cime " (Isolated and solitary peaks) taken from La Calisto by Francesco Cavalli . Supported by a very active accompaniment, full of relief and life, the voice of the countertenor fills with ease the immense corridor that is the gallery. By its limpid text, its homogeneous timbre, whose grain of the bass is particularly shivering with pleasure, it captivates. The very beautiful expressiveness he shows is undoubtedly helped by his undeniable charisma. Vocally and physically, he takes on the casual air of Eliogabalo to sing " Chi scherza con amor, scherza col foco" (Who plays with love, plays with fire) from the eponymous opera written by Giovanni Antonio Boretti . More than his stage presence, it is by his intense gazes, always in the direction of his audience, that Orliński reinforces the expressive intensity that he already transmits through his singing. Il Pomo d'Oro , under the committed and lively direction of the violinist Zefira Valova, is a partner extremely attentive to nuances, whose palette is constantly renewed to capture the emotion of the listener. His phrasings are like breaths that allow the singer to also demonstrate long outfits. The superb - and too short - cadenza of " Infelice mia costanza " (O my unhappy constancy), taken from La costanza non gradita nel doppio amore d'Aminta by Giovanni Bononcini , thus makes heard a long breath sublimated by an incredible support. Then Orliński 's gazedarkens, the bows strike the strings, the music becomes a violent storm, the vocalizations of the countertenor become fireworks: the public is captivated by the expressive intensity of " Odio, vendetta, amor " (Haine, revenge, love) from Don Chisciotte in Sierra Morena by Francesco Bartolomeo.
To the song of this country, she is what the stars of the "French quality" cinema of the 1940s and 1950s were: an elongated beauty, an elegance, at the same time vocal, dramatic and physical, which one would be wrong to confine to the registers of the femme fatale, or marked by a fatal fate assumed with nobility. "Tragédiennes", the discographic trilogy of Lully in Saint-Saëns with Christophe Rousset, it is her, for eternity. Who will ever join her on Olympus where she hoisted the “Sad Preparations” of Castor and Pollux ? The versatility of the artist, however, is immense. Mozart from his beginnings, and on the biggest stages, to Vienna where his Countess of the Marriage of Figaroentered the legend of the Staatsoper - as in that of Aix, where she was to return this summer in Fiordiligi. And the melody, the French romantic opera, genres so long shunned, where the subtleties of its timbre, its musicality, its spirit work wonders. Intrepid decipherer of forgotten scores, she proudly brandishes the banner of that time rediscovered with “Nuits”, her new recital of melodies with string quartet and piano which appears by Alpha.
The sumptuous soprano is an accomplished actress and tireless explorer. Wicked Hecube, innocent Marguerite or insolent Hélène, Véronique Gens ennobles all the heroines she embodies.
Florian Sempey is now wrapped in the fabric of the great French baritones, which does not prevent him from mastering the flexibility of Rossinian singing which corresponds to his jovial nature. Over the whole range, he presents perfect control of his voice: a real joy to hear him indulge himself with such ease!
France does not have enough opportunity to hear Ariane Matiakh (photo), a talented and characterful baton, at ease in symphonic music as much as in opera - Germany or Sweden have it. more quickly understood than we ... But a little patience, a few meetings are looming on the horizon.
Sabine Devieilhe has this ability to convey emotions, to immerse herself, piece after piece
The sublime costumes of Vanessa Sannino , as majestic as they are exuberant
the beauty, energy and elegance of Lully's score are there
