The 2013 recording of Poulenc’s Dialogues des Carmélites from the Théâtre des Champs Elysées has a cast that reads like a roll call of famous French singers; Petitbon, Piau, Gens and Koch are all there. Throw in Rosalind Plowright and Topi Lehtipuu and one gets some idea of the star power on display.
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.
Despite also featuring William Christie, Les Arts Florissants and François Roussillon, the 2004 Châtelet production of Rameau’s Les Paladins could hardly be more different from the recording of Lully’s Atys that I reviewed yesterday. The work is based on Orlando Furioso and is an utterly anarchic parody of pretty much everything that Rameau had previously written. It was considered shocking in its day. The production by José Montalvo with choreographic help from Dominique Hervieu is completely mad and tremendous fun.