Twenty five years.
It was twenty-five years ago that the Marc Minkowski/Laurent Pelly tandem was formed for the first time under the sign of Offenbach, a duo immediately placed under the sign of elective affinity.
Nobody has forgotten
Orphée aux enfers
in Lyon,
La Belle Hélène
and
La Grande-Duchesse de Gérolstein
at the Châtelet, while their
Platée
by Rameau still makes the beautiful evenings of the Palais Garnier.
It is therefore with an invaluable experience and maturity that the accomplices meet at the Théâtre des Champs-Élysées for a
Périchole
who set fire to this room to the usually civilized public.
Main quality of both: the sense of rhythm, which drags you into its whirlwind.
Pelly brings this timeless plot to life by differentiating each painting: a chip shop and proletarian frills for the town square, mirrors, sofas and sheath dresses or crinolines for the palace.
Agathe Mélinand's interventions on the text aim to make the dialogues believable without…
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