La Reine de Saba, Charles Gounod Opera de Marseille 27-X-19

( Karine Deshayes § JP Furlan photo from La Marseillaise Christian Dresse)

La Reine de Saba


 A concert version  for  this Gounod's opera inspired by Gerard de Nerval oriental poem  was given at Marseille Opera house on sunday afternoon Oct 27th.
It was a complete discovery which I shared with the title role Karine Deshayes  who sang this rather heroïc  role for the first time.
Indeed it was worth being in the live audience last sunday afternoon because Karine Deshayes in a bright orange -red long dress pleated  in a  greek ancient style,  gave a stunning rendition of this role.
She had imperial looks and the thousands colours of her voice with that glorious flamboyant centre and her amazing tops (very sopranistic) added tremendous charm and authority to this exotic queen who conquered Soliman's heart,  plus in this libretto,  the architect's heart during very secret meetings.
The  loud music from the brass instruments could be enjoyable for some time but I could not say it charmed me the whole afternoon. I became very sensitive to the text which sounded very clumsy at times especially when the three villains were plotting against their boss, the architect Adoniram sung by a tenor we all know here   JP Furlan.

I also noticed the chorus (excellent that day)  repeated   'soliman is arriving and sitting soon' which were really laughable but these aukwards parts were saved by amazing dramatic  rare  moments (I must say I found them 'too' rare  and had to wait for the last act to really feel drama and true emotions from the singers).
Because of the loud heroïc turn of the whole opera all the singers had musical arias  sung 'forte' which were rather fatal for the tenor and almost ruined his best aria "Faiblesse de la race humaine" (here sung by Rolando Villazon I admired so much when he began singing in France and Germany).  The tenor JP Furlan  did a courageaous job until his death, at the last act,  where he  (at last)  had a soft tune shared with his  lover Balkis.
Even Soleman - N.Courjal revealed his wonderful  bass tones in the second part of the opera after intermission.
Orchestra and chorus were efficient and excellent for that type of Grand opera. I had a very enjoyable moment at the violin solo I would really like to follow again and again. It would have been a cultural plus to have this rare opera on display on radio or another media. France Musique does not broadcast as much as it used to.
Really  the best singer from beginning to end was Balkis-Karine Deshayes, the famous Queen of Sheba !
It seemed this rather uneasy musical score and  that not so good libretto were fitting her voice for this role: she was a magnificient Queen challenging Soliman she was supposed to marry and was very touching as Adoniram's secret lover.  She  reached the peak of drama and emotion at the last act when the musical score softened with melodic tones rather than epic ones. The conspiracy of the villains  ( Adoniram's workers) seemed rather ridiculous but  the drama  got  more intense  when Adoniram  got stabbed by  the workers jalous of their master Adoniram ( right from the opening scene).
When Karine Deshayes sang, almost in a whisper,  'Adoniram n'est plus', suddenly came to my mind 'Hyppolite n'est plus' from Rameau's Hyppolite et Aricie' it was so similar in a way!
Then this iconic queen let her sorrow flow in an amazing  complaint which was an apology of her lover and his prestigious skills.  An acrobatic high musical phrase was at times soft then loud and fierce; the word 'divin' was so high pitched that I was shivering with passion for the dramatic mezzo soprano who at the  very last seven minutes of this long concert version could master her own voice and emotions so brilliantly...  Yes, Karine Dehayes alone on the stage and in front of orchestra and massive chorus was divine !

 The applause were endless  for this generous singer who reminds me of Rita Gorr for the flamboyance of her voice and Régine Crespin for the agility and wonderful tops in each role she sings!  She embodied Charlotte, Balkis, Donna Elvira, Rosina, Carmen,  la Cenerentola, Adalgisa, Urbain, Elena, La Belle Hélène, La muse and  Nicklausse, Alceste, Marguerite, Romeo, Semiramide... and I am sure I have some blanks because her musical skills are magical! she is  the best living mezzo soprano for me, and a wonderful person who is caring for her fans sharing enthusiasum for her roles and generosity  with her fans. "Coupettes" (glasses of champagne called ''flutes' as well !) ) are what she shares with us when it is possible !  
She will sing at  Rossini Festival Pesaro August 2020: I really want to make the journey for Rossini sung by Karine in Rossini's country! that will be perhaps be one of my last opera outings!
Tribute to the great Régine Crespin who gave a masterclass to Karine Deshayes: