A production of the Théâtre de Capitole de Toulouse which is being staged in Paris, the fact is rare enough to be underlined.
Especially since Olivier Py has superbly directed this
Boris Godounov
by Modest Mussorgsky.
The action, although transposed to our time, remains faithful to this complicated story of the tsar and the conflict of power – a classic in Russia.
Obviously, we cannot escape the non-cryptic, even very strong, references to Putin and his world.
Also read Jean-Christophe Buisson: “Olivier Py’s imaginary film”
Musically, it's perfect.
The Capitole choirs and orchestra brilliantly dominate this extremely difficult opera.
The balance between the voices and the orchestra is magnificent, and the roles superbly interpreted.
How could the public remain indifferent to these melodies?
He is transported from the first scenes, guided by a very, (too?) – explicit, sometimes almost violent staging.
He is won over by the decor and its metamorphoses, as well as the art of removing the facade of a Stalinist building to leave room for an immense icon all in gold.
It is aesthetically superb and mesmerizing.
He is fascinated by the visual effects created by very studied light effects, such as this decor which at the end of the show seems to catch fire.
The illusion is total.
In the midst of all these artifices, a prima Ballerina in a romantic white tutu, looking straight out of the Bolshoi, appeared on the stage, surrounded by shirtless soldiers.
Suffice it to say that this show never stops oscillating between the predictable and the unexpected.
And we are both confused… and captivated.
Théâtre des Champs-Élysées from February 28 to March 7