Stage director Laurent Pelly is famed for his Offenbach stagings, above all others his masterful rendering of Les Contes d’Hoffmann as a nightmare. Mr. Pelly has staged eleven of Offenbach’s ninety-nine operettas over the years (coincidently this production of Barbe-Bleue is Mr. Pelly’s ninety-eighth opera staging).
Tag: OpÈra de Lyon
The Enchantresse and Dido and Aeneas
Dido and Aeneas, Il ritorno d’Ulisse and Tchaikowsky’s L’Enchantresse, the three operas of the OpÈra de Lyon’s annual late March festival all tease destiny. But far more striking than the thematic relationship that motivates this 2019 festival is the derivation of these three productions from the world of hyper-refined theater, far flung hyper-refined theater.
De la Maison des Morts in Lyon
The obsessive Russian Dostoevsky’s novel cruelly objectified into music by Czech composer Leos Janacek brutalized into action by Polish director Krzysztof Warlikowski beatified by Argentine conductor Alejo PÈrez.
Don Carlos in Lyon
Metteur en scËne Christophe HonorÈ placed his 2016 Aix Festival Cosi fan tutte in Ethiopia. Unfortunately his current Lyon Don Carlos enjoys no such equivalent poetic intuition.
Macbeth in Lyon
A revival of the OpÈra de Lyon’s 2012 Occupy Wall St. production of Verdi’s 1865 Macbeth, transforming naive commentary into strange irony, some high art included.
The Chalk Circle in Lyon
Not the 14th century Chinese play nor its 1832 French translation, but a 1931 operatic re-creation by Alexander Zemlinsky of a 1925 German translation by “Klabund,” staged just now in Lyon by French stage director Richard Brunel.
Jeanne d’Arc au b˚cher in Lyon
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scËne of this revival of Arthur Honegger’s mystËre lyrique, Joan of Arc at the Stake (1938) at the OpÈra Nouvel in Lyon.
La Juive in Lyon
Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .
Benjamin, DerniËre Nuit in Lyon
That’s Walter Benjamin of the Frankfort School [philosophers in the interwar period (WW’s I and II) who were at home neither with capitalism, fascism or communism].
Lady Macbeth of Mtsensk in Lyon
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .