The new production of The
Marriage of Figaro
at the Palais Garnier forces us to wonder where to place the cursor.
Because there are two ways to perceive the show of the director Netia Jones: as a skilful and pleasant evening or as a wise and conventional production.
Similarly, if we can rejoice that the director is no longer booed at the opera, a sign of reconciliation with the public, we can also regret it as a symptom of a weak consensus which hesitates to take the great texts head on.
Behind the scenes of the Palais Garnier, nowadays.
In the dressing rooms, rehearsal studios, costume shops, a production of the
Marriage of Figaro is being prepared.
The little rats of the School of Dance warm up, arousing more than a passive interest on the part of the holder of the role of the Count, who also does not neglect to audition himself pretty singers in the
Air of the Countess.
The scenography exploits the dimensions of width, depth and height, multiplied…
This article is for subscribers only.
You have 78% left to discover.
Cultivating your freedom is cultivating your curiosity.
Keep reading your article for 1€ the first month
I ENJOY IT
Already subscribed?
Login