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Yvonne and the Lady: lyric art in all its forms

2020-02-22T06:11:51.799Z


The charm of Boieldieu and the acidic irony of Boesmans: first and second degree opera.


At the opera, you can choose to be taken to the land of dreams: you accept conventions that are sometimes a bit rigid, then let yourself be carried away by the music. Conversely, lyrical art can have a corrosive charge that its very form makes even more effective, because it is draped in a conformism that is all the more explosive. This week, the Parisian scenes offer two works at opposite ends of each other, illustrating the infinite variety of this genre that we too quickly qualify as dusty or heritage (sorry, we must now say marital ...)

We do not imagine today the success which was that of La Dame blanche by Boieldieu. Created at the Opéra-Comique in 1825, this work did not only enchant the public. Wagner himself greeted this opera in which he found the quintessence of a certain French spirit (but was this really praise?). It is true that the whole imagination of the Restoration is nestled here. The booklet, imitated by Walter Scott, where a fantastic good child mixes with crossovers in love, with watch towers, secret passages and other amiable ghosts. The music could not be more spiritual, elegant lightness, never heavy. An exquisite cotton candy that fades very quickly but leaves in the musical memory a sweet tone and a taste of come back.

Collages and pastiches

The Opéra-Comique is therefore well advised to program this work which made its beautiful evenings. An entirely French-speaking cast is at the rendezvous of this play where spoken dialogues are important. Philippe Talbot, excellent Count Ory on this same stage two years ago, will lead the dance, under the attentive baton of Julien Leroy and in a staging by Pauline Bureau.

Read also: The very beautiful crusade of Count Ory

With Yvonne, Princess of Burgundy , change of tone, spirit, era, and place. We are very happy that the Paris Opera is once again hosting this show created at the Palais Garnier over ten years ago, and which has left a very vivid memory (rarely the official orders for the first national scene have been so convincing) .

The work had reconciled the most fundamentalist fringe of contemporary music and the supporters of less corseted music. It must be said that the score of the Belgian Philippe Boesmans plays collages and pastiches, without ever taking pleasure in the blink of an eye. And the staging of the late Luc Bondy was a display of virtuosity. And then there is the original play, written by Witold Gombrowitz in the 1930s, which is a devastating charge against tyrannical powers. Under cover of a false fairy tale, the work machine guns at all costs. A delicious massacre game!

Read also: The coronation of "Yvonne, Princess of Burgundy"

The White Lady, at the Opéra-Comique, 1, place Boieldieu (2e). Phone: 01 70 23 01 31. Dates: from 20 Feb. March 1 at 8 p.m. Seats: from 6 to 145 € .

»Yvonne, Princess of Burgundy, Opéra Garnier, Place de l'Opéra (9th). Tel .: 08 92 89 90 90. Dates: from 26 Feb. March 8, 7:30 p.m. Seats: 25 to 149 €.

»Reserve your seats for “ Yvonne, Princess of Burgundy ”at the Opéra Garnier on Ticketac

»Reserve your seats for“ The White Lady ”at the Opéra-Comique on Ticketac

Source: lefigaro

All life articles on 2020-02-22

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