A fun La Belle Helène from Zurich

Having had a lot of fun with the Lyon recording of Orphée aux Enfers I decided to try and track down some more Offenbach operetta and managed to find a Zurich recording of La Belle Helène conducted, perhaps surprisingly, by Nikolaus Harnoncourt.

It’s not perhaps as wildly funny as the Orphée nor perhaps does it have as many memorable tunes but it’s good fun in an undemanding (at least for the audience) sort of way.  The Zurich production, by Helmut Lohner, is painted in pretty broad brush strokes.  The costumes a re very colourful, a bit silly and most have writing on them, much of it, oddly, in English.  The thunder machine is positively Heath Robinsonish.  There’s lots of stage action and fairly silly dancing around.  It’s all very fast paced and doesn’t take itself too seriously despite the sleeve notes leading one to expect more in the way of social satire.  Harnoncourt is obviously having a whale of a time and occasionally gets caught up in the stage action rather as he does in the Salzburg King ArthurContinue reading

Back to Offenbach

After the hours of discussion about what Lee Blakeney really meant in his COC Les Contes d’Hoffmann a little light relief seemed called for.  Fortuitously I had just got my hands on the 1997 Opéra National de Lyon recording of Offenbach’s Orphée aux Enfers so I thought that might do the trick.  I was dead right.  The production by Laurent Pelly is an absolute hoot (or, to quote young British mezzo, Emilie Renard “FILTHY!”).  The high speed, somewhat surreal production is brilliantly executed by a predominantly French cast including Natalie Dessay as Eurydice and Laurent Naouri as Jupiter.  There’s so much going on that it would be tedious to provide a full description.  Continue reading

Tales of Hoffmann at Canadian Opera Company

Last night saw the third performance in the current run of Offenbach’s Les Contes d’Hoffmann at the Canadian Opera Company.

It’s a peculiar work.  It was Offenbach’s first and only foray into grand opera and he didn’t live to complete it.  This leaves all sorts of performance issues regarding orchestration, sequence of the acts and spoken dialogue vs accompanied recitatives among others.  The COC version uses the conventional act order; Olympia, Antonia, Giulietta, and recitatives with orchestral accompaniment which makes for a long night but is probably the best fit with director Lee Blakeley’s take on the piece, previously seen at Vlaamse Opera in 2000.

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