Paris, Châtelet june 20th.
It is a true opera for all with several levels of sense and music and of course history with the Chile of Salvador Allende period. It is meant to be Pablo Neruda last part of his life revisited by a very gifted writer, Antonio Skarmeta (Ardiente Paciencia...A. Rimbaud's quote) turned into a very successful film (Le facteur-Michel Redford) and now into a Latin American rhapsodic opera created on Sept 23rd at Los Angeles Opera House.
What was missing was the composer, Daniel Catan. His music, so well rendered, is his marvellous presence, for ever.(the four performances at the Châtelet are dedicated to his memory).
So, the music touched me a lot.
The two tenors first:(a very special treat to have two tenors in duets, we knew the 'Three tenors' already!)
Placido Domingo is a seductive oldish poet who has a mature passion for Matilda his wife and that is fine ! For once we are confronted with elderly lovers! The first aria 'Desduna' which is Neruda's love poem for his wife, strikes the passionate chord quite high on the scale of emotions! The couple Gallardo-Domas- Domingo works well on stage, elegance, restrained eroticism which is more in the music than in the beautiful gestures of both. With the music and all, I think the audience was conquered at first sight after that dance, for me it was almost like a dance... because I felt it was very intimate.
Young Charles Castronovo is a naïve postman, then develops into a hot and touching lover and "poet" and shares the direct language of Neruda's love poems to court his love at first sight: Beatrice (the incredible baby-foot game with only rhythm, shouts and movements!).
Yes, love is at the center of this opera, the music is such a wonder... "Love is all around us" with the oldish couple and the young one, Mario and Beatrice.). Mario-Castronovo is a foolish lover, his tops were fantastic, his musicality suited this role of a poet and amazing lover, like Dante for Beatrice (the whole libretto is full of poetic hints just like in the book, it is witty and funny at times).
I was quite happy to see the Red flags floating on the stage in the 3rd part, it makes a real change from all the religious arias which are thousands in European operas. Daniel Catan opened a door on the Latin culture and the History of Chile. Repression is of course the end of the story in the 3rd act, the most dramatic one, and here again it is rendered with elegance, heartbreaking phrases from the orchestra where the Clarinet and the French horn have challenging solos or duet parts. It is also moving to hear Neruda's voice declaiming poems.
What I would have liked to see and hear again which appeared to my ears as wonderful as 'the Four Seasons" is the musical ' recording' of the sounds of the sea, the wind, the bells, the sunset and sunrise the birds, the sea in all its states, and Mario and Beatrice's babe's heartbeat in his wife's womb.....to send to the longing Neruda who is far from his island... a very rich musical part, with so much poetry in it with the videos and Mario's hints. This musical part, faithful to the book(marvellous pages too) is for me one of the highlights of the opera. The settings and videos of the sea are also very faithful to the text.
The other one is the tango' Comprendo'.
When Placido Domingo left the theater I was still at the stage door, wanting to cheer him until the last minute (I know it sounds childish, immature, whatever it is, but I admire him so much as someone of my generation who is such a striking figure and is capable of creating huge new roles like this Neruda one)and I shouted 'you must finish singing and dancing this tango with Matilda -gallardo-Domas...it's so good...' I do not think he heard it, or perhaps I only 'shouted'this in my head...
The tape-recording (yes it is indeed from a tape-recorder) which is played twice on stage during the opera is sung by Gregorio Gonzalez.
"No comprendo" why it is not Rolando (we all know he is such a great Placido's friend) who is singing on the tape-recorder?
Here Rolando Villazon is singing this Daniel Catan's tango, and it is moving...
Placido, sing it again while dancing with Matilda, dancing and singing together...that is my only wish!
Daniel Catán
20, 24, 27, 30 juin
D’après le film Il Postino de Michael Radford
Du film à succès Il Postino* (avec Philippe Noiret), le compositeur Daniel Catán (né en 1949) a tiré un opéra au croisement entre plusieurs rencontres. L’histoire se situe sur une île méditerranéenne où Pablo Neruda, exilé du Chili pour ses prises de position politiques, s’est réfugié avec son épouse. Le facteur, son seul lien avec le monde, découvrira avec lui la poésie et sa force expressive.
Rencontre entre un simple postier et le poète évoquée par le livret, mais aussi entre le légendaire Plácido Domingo et un ténor de la jeune génération pour porter cet ouvrage d’aujourd’hui. Et surtout, rencontre entre émotion lyrique et véracité cinématographique.
Durée du spectacle: 2h30 (avec entracte)
Direction musicale
Jean-Yves Ossonce
Mise en scène
Ron Daniels
Décors et costumes
Riccardo Hernandez
Vidéo projections
Philip Bussmann
Chorégraphie
David Bridel
Lumières
Jennifer Tipton
Pablo Neruda
Plácido Domingo
Mario Ruoppolo
Daniel Montenegro ,
Charles Castronovo
Beatrice Russo
Amanda Squitieri
Matilde (Mrs Neruda)
Cristina Gallardo-Domâs
Giorgio
Victor Torres
Donna Rosa
Patricia Fernandez
Di Cosima
Laurent Alvaro
Le prêtre
David Robinson
Le père de Mario
Pepe Martinez
Orchestre Symphonique de Navarre
Chœur d'hommes
Coproduction Los Angeles Opera, Theater an der Wien, Théâtre du Châtelet
Décors et peintures: CBS Scenic Studios, Los Angeles
Costumes: Los Angeles Opera Costume Shop
En espagnol, surtitré
Photos: Robert Millard / Los Angeles Opera
A gorgeous cast for an incredible music which has its Puccini's La Boheme accents at times and its own south American curves and pangs, even an aria a cappella, sung at the wedding table by Pepe Martinez, Mario's father and fisherman, which to my ears sounded like Canto Gitano. Beatrice was splendid too!
The standing ovation lasted half an hour I think. I did not count the number of calls!
Here is a first review:
I waited with some fans and was honored to greet Placido Domingo around midnight.. and he was not impatient to leave, talked nicely, signed autographs, I simply admire him a bit more than usual. Perhaps a sign of what the world of opera is like in the world of fame, is the question asked by his chauffeur!
He saw us waiting outdoors when he parked, came out and asked who were the important people he had been driving around for two days! so I said laughingly 'Placido Domingo' the top tenor in the world who sang the main role tonight at the Opening night', then he exclaimed 'his wife is already at 'Le Grand Café des Capucines' and he will join her ...
if I had been younger and more 'trendy' ... that would have been a place to end the evening...
Still, all the best for the 3 more nights of this gorgeous music, much more efficient and moving than "Marius and Fanny" opera created also from a very famous text and excellent old black and white film... I frankly prefer this style, openly, the Spanish opera style!
Maestro Domingo expresses himself on this Opera in French (beautifully too)
No comments:
Post a Comment