's Theatre Chatelet proposed in March the creation of the first French opera by Richard Wagner, The Fairies. Fascinating work: Richard Wagner is virtually self-taught, and he shows his twenties when he learned the musical language of his time and is already capable of being.
course in 1833, this young designer who gropes is far from that will be a few decades by Richard Wagner wrote Tristan and the Ring, but there is already an accomplished composer.
Reviews: resignation !
I just want to make a small parenthesis that the welcome criticism as a whole, this show has given exceptional pathetic. Fairies sulfur prejudice. Moreover, Radio France has not deigned to move while it was obviously an event of the season, we prefer to drink generously broadcasts of routine performances of the Metropolitan New York.
In these cases, one might say that the critics, curious, will go to this show and realize how interesting. No! Them, they giggle. I take an example that is worth his weight in peanuts: the sort of editorial on page 32 of Classica May. We are entitled to the full! The author, a sub-docket named Nicolas d'Estienne d'Orves, said no one was so that he, demanding aesthetic, could not hold more than half managed to show that he has not seen. And as he seemed to discover the work, we understand that an article about an opera he does not know. Then he criticizes the book that Wagner chose "he would soon be less convoluted themes that imbitable imbroglio mythological ". There, I wonder if I dream. In reality, this brave boy has also quit the Ring, Tristan and Parsifal at the half, otherwise I can not understand his sentence because the late operas of Wagner in terms of mythological imbitable imbroglio, they arise here ... Then he spoke of the detrimental influence of Meyerbeer about writing this opera. He just neglects the detail that this influence does not agree, and Because in 1833 Meyerbeer was known as a composer of Italian opera, he never wrote the great French opera for two years and Wagner had not yet met, or perhaps even heard Meyerbeer style. It should perhaps be qualified, then read what I write about playing the Devil by Robert Wagner at the time, but still, there is very little in these Meyerbeer Fairies ... Basically, this pseudo-criticism shows that he knows not the works of Meyerbeer. It compares an opera he has not heard of a composer to those he does not know, and poof! it draws conclusions ... Well, I'll drop the rest of the article, insulting the staging, the chef, and singers, written with his good jokes "evil fairies", "fairy soft." Ahaha! In addition to displaying his ignorance with pride and his lack of ethics, he started the high-end humor.
is the level of the music press in France ... This
closed parenthesis, this show could have some shortcomings, it was exceptional, full of respect.
Wagner of the generation of 1820.
What are the real influences of Wagner in the score? Because it is not strictly speaking of Wagner, the changing character has not yet occurred. He writes like a true romantic of this generation of 1820, his musical universe is bathed in the music of Ludwig von Beethoven, Felix Mendelssohn, but more importantly, for music lyrics: Franz Schubert, Carl Maria von Weber and Marschner Heinrisch.
Wagner was also the head training when he composed this opera, and it seems he led many of Beethoven's symphonies, but also excerpts from Rober le Diable Meyerbeer. It's quite fascinating to see the aggregate all its elements, and write a real German romantic opera, and it was romantic "flamboyant" before being romantic late. It also seems that one feels in this opera traces of Italian opera: Rossini, Spontini ... I did not hear personally. But I was also in a discovery phase of this opera. However, the desire to be in line with Mozart is evident.
It is interesting to see the development of his music: he writes at the outset of a theatrical way, not in great shape with repetition, but as an orchestral discourse that develops with great effect to highlight the action, written fluency with nice modulations, and already the leitmotif. Uh no, themes. Finally, one or two small quotes that appear in the score but not receiving treatment so sophisticated that a true Wagnerian leitmotif.
There is a puzzle generation of romantic opera that is taking place now thanks to performers brave and curious. It's a great piece that was added here by Marc Minkowski.
A Wagnerian libretto
What is interesting is to see how, at the outset, Wagner grabbed the booklet. Everything is built around this text, inspired by Carlo Gozzi (that of Turandot), itself inspired by an Indian legend of a snake woman. It's almost funny, there immediately tics Wagner: major explanatory monologues, the action happens largely off-stage Wagner and intuitive. One who will so instinctive onstage Buddhism, Marxism, the proto-psychoanalysis, in the great operas of his messy salad of maturity, as an intuition here on the conclusion. Rather than make its characters all mortals, he makes all divine: in so doing, it corrects the work of Carlo Gozzi and returns, knowingly or not?, To the original version of the story.
He chose a German romantic universe, not a historical or a contemporary and humorous. It places this text with its wonders, its monsters and mysteries at the center of his writing and the music follows the text. From his first opera, a real opera Wagner with its mystical and erotic themes.
A staging in addition
What has been the choice for this creation? It's tricky to know what to do, I guess. The direction of Chatelet entrusted this task to Emilio Sagi.
The choice was a dreamlike aesthetic choices with kitsch. And it works very well: it does not denature the libretto, directing actors is good, we follow the story in a fluid (except perhaps in the third act, the less successful) and it is elegant. Because we have heard read in full of nonsense about this show, it was the Lido, distasteful, etc. ... Wrong. The aesthetic is pretty funny, with a gay-friendly side, but the costumes are very elegant Jesus Ruiz, there are even more sober moments. A good choice
saw a recreation and avoids transposition difficult with a little known work.
A beautiful voice shelf
Belle delivery singers: the choice was made for youth, with principal roles in deu hopes of Wagnerian singing. Difficult choice because the vocal writing is very difficult, it made me think of that but it's worse than Fidelio this, it reminds of Wagner ... In other words, it is virtually unsingable. William Joyner is doing very well, as Christiane Libor's voice very impresive, even if it is not my personal dream.
The feat is that any distribution is high level and involved: Lina Tetruashvili, Laurent Naouri, Salome Haller, Eduarda Melo, Laurent Alvaro, Judith aguthier, Nicolas Tested. I will not detail, but it was really neat.
Wagner on period instruments.
And finally, the icing on the cake, but also the element who was operating all this show: Marc Minkowski and his Musiciens du Louvre-Grenoble. Tremendous work done by contemporary collection of antique instruments of writing this piece was a true romantic orchestra was meant, not a war machine sraussienne. Exciting balance between pit and stage, beautiful textures, all under the very dramatic Minko that animated the score you it seems much harder than it seems and in which the orchestra was doing really well.
In conclusion, an extraordinary discovery in my case, and anyone curious about this important period German Romantic opera, and a milestone in the formation of Wagner.
Probably disappointing for those who pretended not to understand that they would hear Tristan or the Ring, but did not appreciate what they were offered an exciting spectacle and an opera great and successful.
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