Mobile painted canvases, the spirit of trestles, veils of infinite lightness, subdued lighting evoking the intimacy of a classic bourgeois interior, deliciously eighteenth-century colors... The bet, dreamed up by chef Marc Minkowski and director Ivan Alexandre , to orchestrate the famous Mozart-da Ponte trilogy around a common scenic space could well seem risky on paper.
It turns out on stage, which is more under the golds of the Royal Opera, an aesthetic success.
Far from a systematic uniformity too constraining for the theatrical sap of each of the three works, Ivan Alexandre and his decorator Antoine Fontaine (who also signs the costumes, of a rare elegance) knew how to demonstrate that one could rhyme purity and classicism with relevance.
Without ever sinking into excess, neither on one side nor on the other.
team spirit
After having been premiered in stages at Drottningholm Palace in Sweden, as well as on the no less historic stage of the Royal Opera, this production in the form of a triptych is therefore making a comeback under the golds of Versailles in the form of a a week-long “Mozart Festival”, which will allow the public to hear these three masterpieces in…
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Finding, in the different roles, the same singers united in one of those troupe spirits of which Marc Minkowski has the secret.
Master asset on stage, the Canadian Robert Gleadow, whose athletic playing and deliciously expressive singing inhabit with an equally convincing force the roles of Figaro, Leporello and Guglielmo.
“The Marriage of Figaro”, January 15 and 20; “Don Giovanni”, January 17 and 21; “Cosi fan tutte” on January 18 and 22, at the Royal Opera.