Avignon. Grand Avignon Opera. 7-X-2022. Richard Strauss (1864-1949): Der Rosenkavalier, an opera in 3 acts of an essay by Hugo von Hofmannsthal. Director: Jean-Claude Perotti. Crews: Rudy Sabongi. Costume: Jenny Kratuchwill. Spotlight: Christophe Faure. With: Tineke Van Ingelgem, soprano (La Maréchale); Misha Shelomiansky, Bass (Baron Ochs de Lerchenau); Hanna Larissa Naujoux, Mezzo-Soprano (Octaviane); Jean-Marc Salzmann, baritone (Monsieur de Faninal); Shiva Tehuval, soprano (Sophie de Faninal); Dana Accenti, Mezzo-soprano (Marian Laitmezirin); Kresimir Spicer, Tenor (Valzacchi); Helen Bernardi, soprano (Annina); Jean-François Baron, Bass (Police Commissioner); Olivier Tromenschlager, tenor (Maréchale’s Butler / Faninal’s Butler / Bar owner); Saeed El Khoury Bariton (notary public). Carlos Natali, tenor (singer); Clelia Moreau, soprano (mill); Matthias Manya, tenor (animal breeder). Choir (Choral Master: Aurore Marchand), Masters of the Opéra Grand Avignon (Chorus Master: Florence Goyon-Pogemberg) and Orchester National Avignon-Provence, Music Direction: Jochem Hochstenbach
The Grand Avignon Opera renews its brilliance Peter Grimes From 2021 with the opening of the 2022 season with a masterpiece from XXe century.
It is reported that at the premiere in Dresden, in 1911, Hoffmannstahl’s masterpiece was set to music by a composer Salomewe have chartered special trains leaving Berlin and even Richard Strauss’s Fifth Opera produced a number of by-products: rose soap, ceramic figurines… We can’t say that a century later, trains link Paris to Avignon
It was crowded, and the few rows of abandoned chairs in the room reopened a year ago, giving an idea of the relative popularity more than one can bet on this irresistible opera with literary and musical inspiration of the highest order. Especially since this new production was worth the train ride, too.
Rosenkavalier It requires gigantic skills. It is the first feature of the house directed by Frederic Royles who, through a clever co-production with Trier Theatre, has managed to bring them all together. First of all, Orchester’s National Avignon Provence is rather impressive, backed by Jochem Hochstenbach, current German House Music Director. From the frightening first bars, trumpets roar, forcing a self-confidence that will never be denied: the talented chatter of musical comedy, the astounding suspension of lyrical effects, the disastrous torrents and chirping of a plethora of details, the ukulele that benefits from intense attention. The balance of the pit and the plateau is remarkably managed, as can be seen during the procession of beggars from I, or even the stunning crowd scenes where the choir and masters of the Grand Avignon Opera make a great impression.
In general, the wide exposition of secondary roles is well distributed. Young Olivier Trommenschlager, in high demand by theatrical (the servants and the innkeeper), rises slightly sharply to the attack of deadly high notes created by the self-proclaimed composer sensitive to temptations, even personal. Likewise, unceremoniously sent to the front by the composer, singer Carlos Natali returned with almost all the glory. Jean-Marc Salzman, who has played this role since the ’90s, is an experienced fanatic and happy with nurseries. Well drawn by costume designer Dana Axentii, he paints Marianne Leitmetzerin. Helen Bernardi, meticulous and adorable Annina (even in groups), trains with the luxury of Kre’s ValzacchisEmir Spicer is a somewhat hilarious photographer couple. Misha Shelomyansky emphasizes the scope and extent of the Ochs. Tineke Van Ingelgem, a young Marshall with a somewhat secretive medium, is growing up little by little before our very eyes. Sheva Tehoval with infinite caution touches the radiant high notes of the role, which also makes Sophie come fully alive. Brass miso, fire power, silhouette for all possibilities: Hanna Larissa Naujoux, called to the rescue four days before the premiere, has the traits of a purebred Octavian.
Opera director at Trier Theater since 2018, Jean-Claude Perotti is a theater man (notably directed by the Bussang People’s Theater) and a music lover, with a few operas to his credit. reading it for Rosenkavalier Quickly displays three assets. First of all, the distance taken from the eighteenth candy boxe From the script that hardly anyone would want today. The elegant black costumes worn by the film’s protagonists refer to a contemporary aristocracy living in homes from a bygone era, but are still seduced by archaic ones: in the second act, “We play in rose knight About the rose whose blood red glimpses returned to the silver tradition.
Then the reflection with the Robert Wayne movie (Rosenkavalier Monastery, 1926) for whom Strauss composed a definite soundtrack (we learn in the first break), a silent film whose images provide a moving counterpoint to the Avignon production. Thus, the ghost of Maréchale can haunt II, as his black and white cinematic melancholy hangs from the color indifference of young lovers in flesh and blood. Two Rosenkavaliers for the price of one, and thus, in dialogue, to the end, utterly fruitful: as I fall, overhanging the backdrop of Maréchale’s apartment, whose walls are crumbling, the chosen shots are from a movie that says so well that the universe is in the process of transformation. A gradual dislocation will lead, in the third, to the back of the exposed stage décor: an effect much visible but still fully functional.
Finally, we follow with constant interest the direction of the actors and their discoveries: the rose that falls between the two lovers, then their wigs bumping into each other when they bend down to pick them up… Perotti forgets no one, and invites us to look into the corners of this opera with a supposed mixing of genres: Baron Oche, too dumb to see the dialogue The amorous pursued by Marechal and Octavian under his eyes and on his knees; Hairstylist Hippolyte turned into Hippolyta; The notary left to spin the perfect love with the singer… After three good hours of music, while we were still wondering when the director would finally keep his promises in note of intentions (” The main character is time ‘As wonderfully thought, but also put to the picture, Barry Kosky in Munich), Muhammed appears, the dumb page, also degenerate without changing his first name, equipped with a huge hourglass on which he sits. Fall asleep. Beautiful picture on stage gradually deserted due to its decor, but would have had more strength if the backstage were able to accommodate all the surviving sections of the walls of the now-vanished Maréchale apartment.
Image credits: © Mickaël & Cédric Studio Delestrade Avignon
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