Opera Pageant at Aix-en-Provence: The beginning of the Southern Civil Battle

Opera Pageant at Aix-en-Provence: The beginning of the Southern Civil Battle [ad_1]

The competition season is accelerating; Salzburg and Bayreuth are shortly approaching, and 7 new works have already begun at Aix-en-Provence up to now week. What's undoubtedly probably the most jovial of all summer time festivals takes place within the pretty city in Provence, which gives an atmospherically distinctive backdrop.

However Provence has additionally been affected by the super occasions of current months. One among Pierre Audi’s main productions needed to be rescheduled throughout his three years as inventive director in Aix: “We had a co-production with Moscow for ‘Salome. We deliberate to stage the manufacturing in Russia in September, so we wished to have half of the solid be Russian. solely little elements, however nonetheless. We responded proper afterwards, saying that we may now not work on a undertaking with Russia.

Audi is unaware that Teodor Currentzis, whose ensembles in Russia are supported by authorised sponsors, is continuous to carry out on the Salzburg Pageant: It’s fairly uncommon, I inform you! That is probably as a consequence of Austria’s declaration that it's impartial. However how are you going to be neutral?

“Résurrection” turns right into a sinister ritual

Final however not least, Audi is well-connected within the business and, in direct opposition to the present pattern of considering smaller, launches a rare firework present for the premiere due to its legendary prolonged directorship on the Amsterdam Nationwide Opera. There might be little doubt that Provençal savoir-vivre is infused with pleasure, although.

Though the whole program, together with the opening premiere, was deliberate lengthy earlier than Putin sparked a conflict in Europe, the premiere itself is explosive accidentally. Nevertheless, the way in which that “Réssurrection” finally ends up changing into a sinister ceremony in a post-apocalyptic setting seems visionary.

Audi has refurbished an enormous black concrete dice that was beforehand the positioning of handball matches and pop live shows within the wasteland of Vitrolles, near Marseille. On this monumental house, Romeo Castellucci presents Mahler’s “Resurrection Symphony.” Esa-Pekka Salonen is conducting whereas the choir, Orchester de Paris, and soloists Golda Schultz and Marianne Crebassa are seated within the ditch. The stage is silent and lined in a darkish patch of earth.

Satoshi Miyagi’s “Idomeneo” by Mozart.

Jean-Louis Fernandez is pictured.

A grey horse trots in to start with, drinks from water puddles, sniffs, then stops. Then his proprietor arrives and makes an attempt to take away him, however she too stays. She trembles as the bottom provides method. Quickly after, people in white security fits entered the world and started methodically excavating greater than 100 our bodies, putting every one fastidiously on a white physique bag earlier than eradicating them in white vans bearing the UNHCR’s brand. Now that we're on the scene of a purported conflict crime, everyone seems to be unavoidably excited about Bucha and different horrific places in Ukraine.

With the softer center actions offering an insufferable distinction to the “plot,” Mahler’s Second Symphony performs just like the rating to this horror. However nothing occurs aside from the gradual exhumation of an increasing number of our bodies, thus eyesight grows uninteresting. Every part is ready up for a bodily overpowering impression, which Mahler tremendously inflates but in addition takes benefit of. The soundtrack can also be elevated, and the stability is disrupted.

“Salome” by Richard Strauss is simply too bland

The second premiere happens in Aix: Ingo Metzmacher conducts the Orchester de Paris whereas Andrea Breth phases Richard Strauss’ “Salome” within the Grand Théâtre de Provence. So as to keep away from overpowering Elsa Dreisig’s lyrical soprano within the title half, Metzmacher regularly dramatically lowers the amount throughout Breth’s opera, which is designed as a small-scale, painstakingly crafted chamber efficiency. Dreisig’s voice lacks depth, piercing power, and dramatic assault. She is an especially girly Salome who possesses little annoying, not to mention demonic traits. General, the formidable night is uninteresting.

The third premiere additionally lacks a steady sense of excellence. Satochi Miyagi phases Mozart’s “Idomeneo” as an outside oratorio within the Théâtre de l’Archevêché, with the famend Raphael Pichon main the Ensemble Pygmalion. Miyagi alludes to Japan’s defeat in World Battle II, however little of it's seen as a result of the soloists are wheeled in on excessive platforms, turned, then wheeled out as soon as extra whereas required to stay stationary, thus the efficiency remains to be primarily a live performance opera. The choir sings superbly, however far too regularly from poor angles, and it sounds too quiet from the ditch at instances. It can be each inadequately stretched and attractive. Among the many stellar solid, which seems to have been slowed down by foam, Nicole Chevalier because the poison-spraying Elettra and the improbable Michael Spyres within the titular character stand out.

Rossini’s “Mose and Pharaon” is a shifting piece.

The fourth premiere of Rossini’s “Mose et Pharaon,” once more on the Théâtre de l’Archevêché and directed by the legendary Tobias scratches with music by Michele Mariotti, will then make you exhale with ease. Excluding Moses, who's portrayed as a rogue from a sandal film, Kratzer adapts the biblical occasions to a gift of flight and migration that's hyper-realistic.

He accomplishes this creatively, with lots of stage motion and dynamic particular person and group directing. The lengths of the piece are supported by Michele Mariotti’s vivacious and constantly aggressive Rossini model, which appropriately energises the Lyon Opera choir and orchestra. The big tableaux are thrillingly profitable, and the solid is excellent. They're undoubtedly festival-worthy.

With Kent Nagano conducting, the primary premiere of the 12 months—Pascal Dusapin’s “Il viaggio, Dante,” as soon as once more co-produced with Lyon—proves to be a whole triumph. It's superbly and efficiently staged by Claus Guth within the opulent décor of Etienne Pluss. The libretto by Frédéric Boyer, which includes Dante, primarily recounts a near-death expertise. A surprising soundtrack by Pascal Dusapin has emotive voice strains which are each nice to hearken to and by no means disturbing.

Lastly, Ted Huffman and the great Cappella Mediterranea sang Monteverdi’s “Poppea” underneath Leonardo Garcia Alarcón’s course. The expert group, freed from outliers, permits Huffman to play energetically in garish costumes; the night is pleasing on a excessive musical degree, however there isn't any occasion.

Then again, the second world premiere of Bushra El-“Lady Turk’s at level zero” was annoying as a result of it provided an insult to males within the form of a static dialog between two girls in a musically unoriginal method. The night is tedious regardless of how cliché it's.

In conclusion, the competition in Aix presents a various cross-section of up to date operatic work, starting from overwhelming aesthetics to director’s theatre, historical-critical efficiency follow, established avant-garde, and didactic agitation theatre. It additionally boasts a solid full of massive names and beautiful performers. Chapeau!

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