La vie parisienne, acte IV - Atelier d'opéra de l'Université de Montréal
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- Опубліковано 8 лют 2025
- La vie parisienne de Jacques Offenbach
Jeudi 27 février 2020
Orchestre de l'Université de Montréal, Jean-Francois Rivest, direction
Atelier d'opéra de l'Université de Montréal, Robin Wheeler, direction
Alain Gauthier, mise en scène
Francis Perron, pianiste et chef de chant
Carl Pelletier, conception de la scénographie et des accessoires
Pierre-Luc Boudreau, conception des costumes
Pierre Lafontaine, conception des maquillages et coiffures
Renaud Pettigrew, conception des éclairages
Distribution
Bobinet, David Turcotte
Raoul de Gardefeu, Emmanuel Hasler
Métella, Camille Brault
Gontran, François Delorme
Joseph, Justin Domenicone
Le baron de Gondremarck, Dominic Veilleux
La baronne de Gondremarck, Mélissa Zerbib
Le brésilien, Jérémie Chéné-Arena
Frick, Emmanuel Raymond
Gabrielle, Agnès Ménard
Pauline, Juliette Tacchino
Prosper, William Aziz
Léonie, Queen Hezumuryango-Dushime
Louise, Maud Lewden
Clara, Roseline Marois-Bernier
Chœur de l'Atelier d'opéra
Sopranos
Thalia Abellard
Marianne Bertrand
Olivia Charette
Camille Espaignol-Jacques
Dahlia Gamache
Marion Germain
Ayako Horihata
Maud Lewden
Roseline Marois-Bernier
Margot Niemchemko
Robyn Perry
Élodie Fournier
Mezzo-sopranos
Meagan Adams
Chantale Gascon
Queen Hezumuryango-Dushime
Maria Pandolfo
Ténors
William Aziz
Jérémie Chéné-Arena
François Delorme
Emmanuel Raymond
Basses
Justin Domenicone
Ricardo Galindo
Jason Viens
Bravo ! Belle orchestration, bon jeu des acteurs, très belle diction et le chant, fluide, est d'une belle qualité.
Bravo ! C'est offenbachien à souhait.
tres beau spectacle Offenbach apprecierait
Une production qu’on aurait plaisir à voir à Paris !
A Paris, on fait des choses d'une autre envergure entre La vie parisienne à la méga salle de Bercy ou la Veuve Joyeuse à l'Opèra Bastille et avec des danseuses de cancan parisiennes, c'est vraiment quelque chose.
Fabuleux!
je ne comprends pas les paroles. il faut des sous titres!
Well I've faithfully translated all the legitimate/published versions bot Bote/Boosey/ Edition Keck (Critical Edition). This is the version when my translation was used in Outer London: the four act version. It's tighter although they had to borrow the Baroness's Aria from the original 5 act version. The entr'actes are all right but I didn't recognise the one with the tune "I have split my clothes down the back". They missed out some nice stage music in Act lV but not in the longer version. They needed more men for the choruses at the beginning of that act They're men only. There's no reason to change the period. Why use cliché sun-glasses? The "female friend" must be unrecognisable (different costume). Do I have to direct it myself to underline there are dark sides to to this text? The baron and his separate bedroom & love for Métella an actress and kept-woman for example. The recent Théatre des Champs Elysées production had I quote "longueurs" because unpublished not very good material was included. I don't think I can get it in the U. K. but the film of the Jean-Louis Barrault production is worth watching. He had played roles like Hamlet but played the Brazilian, Pompa dos Matadores with the accent, unfortunately not in the film. His accent (essential) is good in this production. There is a good selection of excerpts in English on UA-cam (Sadler's Wells opera).
Ridiculously wrong tempo and orchestration. Third class directors abuse the work of Offenbach, by inventing new views and interpretation only to ‚distinguish‘ themselves when in fact they plunder and distort the original work to pretend they would be ingenious artists