Despite a thin to non-existent plot and music that sounds like a remix of all the other Offenbach operettas, La Grande-Duchesse de Gérolstein, performed by largely French forces and recorded at the Théâtre du Châtelet in 2004 is a highly enjoyable romp. The plot centres on the susceptibility of the Grand-Duchess to fall rather hard for younger men. This makes it a perfect vehicle for Felicity Lott who rather seems to specialise in such roles; whether Strauss’ Marschallin or La Belle Hélène. She’s brilliant. She sings gorgeously except where she doesn’t want to and her comic timing is impeccable. She’s well backed up by Yann Beuron as the young soldier Fritz who she promotes from private to général-en-chef without swaying his affections for his sweetheart Wanda sung by the irrepressible and cute Sandrine Piau. The slapstick element is provided by François Le Roux, as Le Général Boum, Franck Leguérinet as Le Baron Puck and Eric Huchet as Le Prince Paul who are set on getting the Grand-Duchess to marry Paul even if it means murdering Fritz. They get lots of up tempo numbers that sound as if they are singing a Korean restaurant menu.
The second half of the Amsterdam double bill that opened with Iphigénie en Aulide is, of course, Iphigénie en Tauride. In this piece the more usual version of the Aulis story, where Diana substitutes a stag for Iphigenia on the altar and whisks the girl off to be her priestess among the savage Scythians of Tauris, is assumed. So the piece opens with Iphigenia and six other Mycenean priestesses (how they got to Tauris is a mystery) in Diana’s temple at Tauris where their job is to sacrifice any strangers who show up. Almost at once the capture of two Greeks is announced. They turn out to Iphigenia’s brother Orestes and his sidekick Pylades and the the next 90 minutes turns on Iphigenia failing to sacrifice either of them.
Rameau’s Plateé is a comedy in three acts with the obligatory allegorical prologue and lots of ballets. It tells the story of the bizarrely ugly water nymph Plateé. In an attempt to calm down Juno who, as usual, is angry at Jupiter’s infidelities, Mercury and the satyr Citheron arrange for Jupiter to pretend to fall in love with and marry Plateé. Juno arrives during the wedding in a fury but when she sees Plateé she realises the joke and is reconciled with Jupiter. Plateé returns, distraught, to her swamp. It’s all really rather cruel but does have a few good jokes.. and lots of ballets.
When I reviewed the 1997 Zurich production of La Belle Helène about a week ago the commentariat was strong in the belief that I should take a look at the 2000 Paris-Châtelet production. So I did and they were right. It’s excellent. It also reinforced my belief that operetta; English, French or German, works best when it’s taken seriously by which I mean using the best available singer/actors, a good director and a top notch orchestra, chorus and conductor. All of these are in place in this Paris production. Continue reading