les contes d'hoffmann bastille 2020 critique

After this, you will receive a personalized email for each tour, event or service booked and paid, or a notification that we could not retain your payment. The Classical Net web site offers a comprehensive collection of information and news on classical music subjects including articles and CD reviews, composers and their music, the basic repertoire, recommended recordings and a CD buying guide. It remains onstage and throughout the performance, we see crew members actually working backstage of this mini theater.The stage then transforms quickly into the canteen of the hall, with a huge bar counter rising up from the floor.

These are very short tenor parts, though the part of Frantz has the comical aria “Jour et nuit je mets en quatre,” which Talbot interpreted with a comical imprint that received a notable ovation.French conductor Pierre Vallet presented a brilliant reading of the score, with a pesante beginning that defined the drama of the plot. The action returns to the canteen for the beginning of the prologue and the opera finishes as it started, with a bare stage and Hoffmann unconscious on the floor surrounded by bottle and papers. DESCRIPTION : Sales open on September 24. In general, his high notes possess a ringing squillo and strong sound, though the constant use of glissandi and portamenti to reach high notes can seem a bit inelegant at times, especially in the French repertoire.The Antonia act, which is second in this production, is Hofmann’s most lyrical. Overall, she displayed strong control in the high register, as well as a strong center.Giuletta was sung by the French soprano Veronique Gens.

Whenever she had to deliver one of the two B flats during the duet with Hoffmann and later during the septet, she simply couldn’t hold them; during the duet, Fabiano was left alone.That said, her part is short, and her voice sounded rotund and sensual, especially during the famous “Barcarole.”Philippe Talbot had the task of impersonating the four characters of Andres, Cochenille, Pitichinaccio and Franzt.

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Even though he does not have a solo aria, his vocal lines during the duets in this act are full of long melodies with several ascensions to high B naturals where Fabiano seemed very comfortable, his singing featuring fluid legato lines.But in the Giuletta act the tessitura becomes higher in general, requiring an even mre potent sound. Her voice blended perfectly with Fabiano during their duet and sang several high B naturals effortlessly. Her interpretation was amusing, energetic, and moving. In this work by Offenbach, Hoffmann, an ill-fated poet and composer, evokes his past love affairs and leads us through a universe in which dreams and reality intermingle. There is always a strong reference to “Don Giovanni” in every act. 2020. The chorus enters dressed as staff of the opera house and members of the “Don Giovanni” chorus. This amount will be debited in Euros. Carsen also manages to clarify the notion presented in the libretto that the four women Hoffmann is in love with are truly one and the same, with the four singers (five if we include the muse) dressed in white and with long blond hair. Michael Fabiano, Jodie Devos, Ailyn Pérez Lead Wondrous Revival of Carsen’s Ageless Production

Here he sang a well-supported high B flat on “pour embrasser les cieux;” his high note at the end of the act on “un automate” was similarly impressive. Les Contes d'Hoffmann. Opera Jacques Offenbach ... Les Contes d'Hoffmann. Conductor: Mark Elder and Pierre Vallet (February 2.

As a result, PWS reserves the right to deny or accept your payment. His French diction and style are immaculate, and his ability to transform into four completely different personalities was awesome, proving his strong stagecraft.Young French mezzo-soprano Gaëlle Arquez portrayed the double role of the muse and Nicklausse. She was funny, energetic, and precise in the mechanical movements required of this staging and managed some high E flats and a trill on a high D with clean coloratura.American soprano Ailyn Pérez took on the role of Antonia. This is arguably Carsen at his purest, taking on a theme of theatre within theatre that has obsessed him throughout his career. Eventually the hero comes toand walks with the muse towards the light as the curtain falls down.It is an impressive and meaningful production which showcases all the technical possibilities of the Bastille stage and features some nuanced stagecraft that includes breaking the fourth wall and integraing the audience into the action of the opera.American tenor Michael Fabiano debuted the role of Hoffmann on this occasion.

And OperaWire came about as a desire to take in as much of it and allow the passionate fan base access to everything this wondrous art form has to offer on a daily basis. Michael Fabiano, Jodie Devos, Ailyn Pérez Lead Wondrous Revival of Carsen’s Ageless ProductionAttending a French opera in Paris is always a remarkable experience; in this case, as the conductor and most of the cast were French you get a special taste of French style and diction that is difficult to find anywhere else.On this occasion, the Paris Opera mounted Robert Carsen’s famed production of “Les Contes d’Hoffmann” on the massive Bastille stage.In Carsen’s rendition, the famed work is set in an Opera House during a performance of “Don Giovanni,” with each act set in a different part of the theatre. Moreover, she managed all these vocal pyrotechnics while dominating the demanding staging, which includes having sex with Hofmann while doing staccato high B flats.

Here, Fabiano lightened the sound of his voice and manage to reach high G and A naturals while sustaining the legato of the phrases and attacking the notes directly without his recurrent use of portamenti. The sets and costumes designed by Michael Levine are hyper realistic and enormous.When the curtain rises with the first bars played by the orchestra, we see a complete empty black stage, with Hoffmann drunk stageright, surrounded by empty bottles of wine and papers.

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