Le prophète @ Toulouse

For and introduction to Le prophète see the article about the Essen production.

It’s true that nowadays it is very difficult to find the money to stage an opera in a “grand” manner the way it was supposed to surprise and amaze the audience in the past (starting with the machinery of the 18th century). And in Toulouse the locations only hinted at the ones required in the libretto and one had to use a bit of imagination (the wheat field, Jean’s abode, the church) and also the final explosion was a bit minimal. But if I compare this one with the Essen staging, then this was quite grand altogether, though a bit conventional. But the masses moved, the singers acted, the costumes were nice, the lighting adequate…I was quite happy.

 

Claus Peter Flor didn’t have the punch of Carella but accompanied well nonetheless albeit a bit unimaginative. There were also considerable and objectionalbe cuts such as Jean’s second act aria. Excellent both the orchestra and the chorus.

Nothing more to add to John Osborn’s singing I didn’t already say. His interpretation is not of an insolent, audacious Jean, rather a Jean victim of circumstances, singing with a soft and flexible voice. Excellent the two female characters. Sofia Fomina has a full, strong, lyrical soprano voice with a lush centre and an easy top. Kate Aldrich was an immense surprise. I always heard her in mezzo roles and was a bit skeptic as of whether she could manage the descends to the lowest notes the role required. But it was a first rate performance with resounding top notes fluid coloratura (in Fides’ last aria) and a mesmerizing stage presence.

direction musicale-Claus Peter Flor, mise en scène-Stefano Vizioli, décors et costumes -Alessandro Ciammarughi, lumières -Guido Petzold, mouvements chorégraphiques -Pierluigi Vanelli, Jean de Leyde-John Osborn, Fidès-Kate Aldrich, Berthe -Sofia Fomina, Jonas -Mikeldi Atxalandabaso, Mathisen -Thomas Dear, Zacharie -Dimitry Ivashchenko, Le Comte d’Oberthal-Leonardo Estévez. 30th June, 17, pictures by Patrice Nin.

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