It’s pure madness!

That’s what Laurent Pelly said about the idea of a Frenchman directing a French opera adaptation of a Shakespeare play for an English audience during Shakespeare 400.  Maybe he has a point but I think his 2016 production of Berlioz’ Béatrice et Bénédict probably gets as much as there is to be got out of a curiously uneven work.

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Lauren Pelly’s weird, dour Tales of Hoffmann

Laurent Pelly’s 2013 production of Offenbach’s Les Contes d’Hoffmann at the Liceu is one of those productions that’s a bit hard to take in at first go.  Part of it is the performing edition used (Michael Kay and Jean-Christophe Keck) which seems to have added a lot of dialogue compared to any version I’ve seen before and includes Hoffmann killing Giulietta in Act 3.  This produces a constant sense of “where they heck are we in the piece”.  It doesn’t help that the DVD package contains no explanatory material at all.  There are no interviews on the disks and the documentation is sub-basic.

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La Grand-Duchesse de Gérolstein

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.

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Ravel double bill

In 2012 Glyndebourne staged an interesting and contrasting double bill of Ravel one-acters in productions by Laurent Pelly.  The first was L’heure espagnole.  It’s a sort of Feydeau farce set to music.  The plot is classic bedroom farce with the twist that most of the doors the lovers come in or out of belong to clocks.  Concepción is the bored wife of a nerdy clockmaker.  She’s not overly impressed by her two lovers; a prolix poet and a smug banker, who show up while hubby is out doing the municipal clocks.  She’s much more taken by the slightly simple but very muscular muleteer who spends most of his time lugging lover infested clocks up and down stairs for her.  Pelly wisely takes the piece at face value and brings off a mad cap forty five minutes timed to the split second.

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Cunning Little Vixen short on magic

The 2009 Florence recording of Janáček’s The Cunning Little Vixen is bright, colourful, straightforward and fun but it doesn’t quite have the magic of the older Théâtre du Châtelet version.  Laurent Pelly’s production is quite straightforward with attractive sets and costumes and interesting choreography from Lionel Hoche.

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Cendrillon

Massenet’s Cendrillon is less often performed than Rossini’s take on the same basic story.  I’m really not sure why.  Rossini’s take is a bit weird (in a good way), especially in the Ponelle production, but Massenet’s is much more interesting musically.  Oddly enough there’s only one version on DVD; a 2011 recording from the Royal Opera House.  Fortunately it’s very good.  The production is by Laurent Pelly and it has quite a bit in common with his La Fille du Regiment.  Here the set is made up of pages from the original syory by Perrault rather than military maps but the effect is similar.  Costumes are quite cartoonish (shades of the recent Alice in Wonderland ballet) except for Cendrillon herself, the prince and her father.  There’s a strong emphasis on the humorous side of the piece and the “ballets” are thoroughly subverted.

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Let us laugh at heaven and earth

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.

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