Monteverdi at Garnier 'L'Incoronazione di Poppea' (June 26).

My last trip to Paris before the summer holidays with grandchildren and family, from June the 26th to  the 30th.
July began back home in Provence, with the girls being on school summer  holiday.
On my own, I attended my last subscribed opera in Paris with my favourite French mezzo sopano Karine Deshayes in the role of Poppea.With the family we enjoyed the King and I at the Chatelet !
Of the five operas at saw in Paris  this season, L'Incoronazione di Poppea was the only one which took  place at Garnier and I was pleased to have another opportunity to be in this precious house after visiting the San Carlo di Napoli, also a marvellous opera house, the oldest one inaugurated in  1737, before La Scala .

At Palais Garnier, I cannot get over the richness of the decoration of the grand staircase, somehow very pretentious but with elegance!
Beforehand I rejoiced at the prospect of having a true baroque conductor and Monteverdi's specialist, Rinaldo Alessandrini, at the direction of his thirteen musicians, and indeed it was splendid.

When I came down from the posh and terribly uncomfortable fourth floor ( the woodden bar at the back of the red velvety rather straight and narrow seats is just killing......unless the music and singing has anaesthetic powers !) which is the Gods, I visited the vaultings and the costumes which are on show at the moment.

Up there,  I was so near the painted ceiling I could read the names of the musicians and their works in the inner circle. It is an honour to be seated so near such an amazing work of art... which did not cost a penny  to the French state as Marc Chagall offered it to France. I ws facing the blue paintng for Beethoven and Fidelio... not a bad spot at all.

At the interval,  I even managed to move to the first row and enjoyed a magnificient view of stage, orchestra and Parterre... I loved my evening with Monteverdi and a wonderful cast and production.
Above all I love this tale, which mixes social backgrounds and couples. I was waiting for Seneca's Death with sheer delight. When I saw the cypres coming from heaven down to earth, symbol of Eternity, I had a feeling of understanding even more the  atmosphere of this production.

  The characters were dancing to move and were almost like moving puppets, all painted and disguised according to their temperaments. Poppea was not even blinking, completely transformed like a monstrous statue with so much power in Amore and corruption!  Her singing had all the colours of her feelings.  After the first impressions of surprise, I felt caught in the poetry of these danced movements, the beauty of the singing and the music. Recitatives and arias flooded with style and beauty. Then, the audience started reacting, applauding after each aria. Elements of decor and light effects were in harmony with the story. Probably I missed subtle effects and would be glad to see this production again.
Some links from France Musique about this production and beautiful singing and music ...
The broadcast from Soirée Lyrique. I was mesmerised by this production and the tremendous musical evening which was in such harmony with Robert Wilson vision of this opera. Monteverdi was at his best! If you happen to click on these links enjoy the singing and music... it is amazing...