The Belgian Opera Programme 2019/2020

Compared to previous years the opera programmes in Belgium for the 19/20 season are a bit disappointing in my view. If the Flemish Opera or the Liege Opera somehow balanced the Monnaie/Munt’s predilection for modern works, this isn’t always the case in the new programmes.

For Brussels one world creation would seem adequate, two already a bit too much. But this year we get 3 (three) world creations: one by Dusapin, one by Attahir, and one by Kwiecinski. Funnily enough, in this 200th anniversary of one of Poland’s most beloved composers, Stanislav Moniuszko, we don’t get to hear an opera BY Moniuszko, but an opera ABOUT Moniuszko (sic). The three modern creations are counterbalanced by the umpteenth staging of the Da Ponte trilogy. I hope in a more pleasant staging than the last ones i saw. The presentation of the trilogy in the programme booklet flings words such as sexual morality, de Sade and #MeToo. I can’t wait… The program is rounded off by two more 20th century operas (R. Strauss and Honegger) and furthermore by the only two operas I really look forward to: Tchaikovsky’s Pikovaya Dama and Offenbach’s Les contes d’Hoffmann. The Monnaie/Munt doesn’t seem to want to offer its paying public a diversity in ballet either, maintaining a modern ballet-only policy.

The Flemish Opera, winner of the 2019 Opera Award for best Opera Company, presents the season of the new artistic director Jan Vandenhouwe. More diverse than the Munt, though I don’t see the need for two Verdi operas in one season (Don Carlos and Macbeth), and Cosi fan tutte again!! Two further titles are disguised as opera but are really a potpourri of music by Verdi and Wagner (Platel’s Choeurs) and the scenes from Goethe’s Faust by Mendelssohn. What stands out is an Schrecker opera (Der Schmied von Gent), a schoolopera by Brecht/Weill (Der Jasager), the Sheharazade/heure espagnole dyptic by Ravel and a welcome Rusalka by Dvorak. Interesting enough 3 productions (Rusalka, Choeurs and the Ravel dyptic) are mentioned under “opera” as well as under “ballet”. This year also the Flemish Opera offers a modern-only programme for ballet (!!).

Overall the most diverse programme with the more interesting names come from Liège. Although yet another Don Carlos is given in parallel to Gent (I would help if thew talked to each other…) together with a second Verdi (Nabucco), the singers are the experienced Gregory Kunde, Ildebrando D’Arcangelo, Yolanda Auyanet and Kate Aldrich. Rossini’s Cenerentola has the interesting newcomer Tenor Sekgapane in its cast, Bellini’s Sonnambula the wonderful Nino Machaidze, Barbera and Mimica. A rare Alzira (a third but at least a rare Verdi) and an even rarer Lakme (with Jodie Devos in the title role) are also on the programme, which includes also a Pecheurs de perles with Annick Massis, a Candide in concert version and Gluck’s Orphée et Eurydice. 10 operas are played in Liège, a quantity which I sometimes found detrimental to quality. I could have done with a Verdi less, But at least the programme is diverse.

https://www.operaliege.be/saison_19_20/

https://www.demunt.be/nl/program

https://operaballet.be/nl/het-huis/blog/ontdek-seizoen-2019-2020

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January in Belgium (Les pecheurs des perles@Gent, Faust@Liège, Gioconda@De Munt/La Monnaie)

I saw two very nice productions last month, one in Gent and one in Liège. Although I am not fond, for different reasons, of either Bizet’s Les pecheurs des perles or Gounod’s Faust, both were very satisfying in terms of singers, conductors and directors and resulted eventually in very pleasing opera evenings.

Les pecheurs des perles was told in a sort of flashback: from an elderly home, Zurga and Nadir re-live the past and their love for Leila. The past is then visualized by a huge sea wave and three dancers. The stage rotated regularly from present to past and in some occasions the two merged, such as when the dancers representing Nadir and Leila, were actually cuddling on a table in the elderly home, surrounded by the seagulls. A very lovely and touching moment of magic realism. From all the voices it was Elena Tsallagova’s Leila who stood out while David Reiland delivered a direction underlining the languish aspect of the score throughout the opera, which was played without pause (a habit I support).

Liège showed us a production of Faust by Stefano Poda already performed in Turin. It’s a symbolic and philosophical vision. The stage is dominated by a giant ring, which turns and lifts and around which everybody moves. The effect is stunning, the idea brilliant, the content and position of the ring vary along the acts and it allows movement of singers and masses. The visual and light effects are beautiful and underline each scene efficiently,  the costumes are very nice and adequate and the Walpurgis ballet was beautifully choreographed. Patrick Davin directs with beautiful colours a score that I find far to “nice” for the subject. The cast was very good with a wonderful interpretation and a generous voice by Ildebrando d’Arcangelo as Mephisto and a good Faust by Marc Laho. Anne Catherine Gillet, except for a few pushed high notes in act 5, charms with a beautiful fleshy timbre.

I saw a less convincing Gioconda, too. “Py Makes it a sinister tale”, they wrote about the director,  or…”chooses for…black“. I’m not sure, however, the intentional choice is much in Py’s power. There are recurring themes and objects such as the all-black, the dog masks, the feeling of grim and oppressive. Sometimes this works well-where Py is indeed able to add more than a setting (Les Huguenots were excellent, Les dialogues des Carmelites impressive)-sometimes it doesn’t (Hamlet or this Gioconda). The continuous black was a bit monotonous, then nudity became a recurrent contrivance and trash came into the picture (having sex on a table, while holding a frying pan with a fish in it?) plus a group rape during the dance scene (ok we got it: sex and violence is a constant in this Py-world, wherever it is). I was bored halfway through the first part. Vocally the two casts weren’t exciting either. None of the two Gioconda’s were fully convincing, one because of the colourless interpretation, the other due a certain distance to the character. Of the two Laura’s I liked the warm voice of Szilvia Vörös in the second cast. Really credible were the Enzo and Barnaba of Stefano La Colla and France Vassallo. The latter vocally and scenically also very convincing. Carignani’s direction is dry and nervous with no space for sentimentality. Sometimes this works, sometimes it doesn’t. Overall two unsatisfactory evenings.

Les pecheurs de perles, Dirigent-David Reiland, Concept, regie & scenografie-FC Bergman, Regie-Stef Aerts, Marie Vinck-Thomas Verstraeten, Decor en belichting-Thomas Verstraeten, Joé Ageman, Kostuums-Judith Van Herck, Dramaturgie-Luc Joosten, Leïla-Elena Tsallagova, Nadir-Charles Workman, Zurga-Boris Statsenko, Nourabad-Stanislav Vorobyov. 15/01/19, photo-Annemie Augustijns

Faust, Conductor-Patrick Davin, Director, Set Design, Costume Design, Lighting, Choreography -Stefano Poda, Faust-Marc Laho, Marguerite-Anne-Catherine Gillet, Méphistophélès-Ildebrando D’Arcangelo, Valentin-Lionel Lhote, Siebel-Na’ama Goldman, Dame Marthe-Angélique Noldus, Wagner-Kamil Ben Hsaïn Lachiri, 30/01/19, photo Edoardo Piva Ramella&Giannese

La Gioconda, Muzikale Leiding-Paolo Carignani, Regie-Olivier Py, Decor En Kostuums-Pierre-André Weitz, Belichting-Bertrand Killy, , La Gioconda- Béatrice Uria-Monzon /Hui He, Laura Adorno-Szilvia Vörös/Silvia Tro Santafé, Enzo Grimaldo-Andrea Carè/Stefano La Colla, Barnaba-Franco Vassallo/Scott Hendricks, La Cieca-Ning Liang, Alvise Badoero-Jean Teitgen, Isèpo-Roberto Covatta, Zuane / Un pilot-Bertrand Duby, Un Barnabotto/Una Voce-Bernard Giovani, Un Cantore-René Laryea, Una Voce-Alejandro Fonté, 30/01 and 01/02/19. Pictures from http://www.Lamonnaie.be

Le Comte Ory @ Liège

Before Rossini’s last opera Guillaume Tell, a project came up which intended to re-use the music of Il Viaggio a Reims. This latter opera was written exclusively for the coronation of Charles X and was staged only a limited number of times. Le Comte Ory, the second last opera by Rossini, was staged with success from 1828 to the mid-19th century for approx. 400 times. Liege’s staging is a coproduction with the Opera Comique which had a set of very good singers. Antonino Siragusa, except for his dynamic  poverty, has a luminous voice which he combines with a solar appearance, easy coloratura, excellent musicality and an instinctive acting. A pleasure to see and hear him. Jodie Devos has a beautiful voice, her timbre velvety and soft, her high and top notes clear, her embellishments delicate and light. The entrance cavatina was sung beautifully with the sensual voice matching the character’s melancholy. The cabaletta was not as sparkling though, partially due to the tempi, partially due to dubious variations. José Maria Lo Monaco makes for a good Isolier, and the two basses Laurent Kubla and Enrico Marabelli sing their respective arias with great taste.

The setting is not the one originally conceived (the time of the crusades), Podalydès puts it around the time of the opera’s composition, so that religious puritanism plays a bigger role. The stage design is simple with the interior of a church in Act 1 and the walls of the castle in Act 2. But there is basically very little action if not for the traditional singers’ movements. The (very) rare gags serve only their own purpose, there is no concept except for the temporally shifted setting. The opera works because the libretto is well written, but the staging is a but dull and clearly the singers don’t always know how to move. What to say about the musical direction of Jordi Bernacér. The tempi are extremely slow. So slow I rarely heard any opera directed (maybe Otello by Ferro in Naples, where I was equally bored). The effect is of a big long boring musical piece after another. The aria of the governor seemed endless. None of the pieces had any energy any vigour; the music sounded repetitive and tedious. This production didn’t do Rossini any justice, it’s nothing like Rossini should sound like.

Direction Musicale-Jordi Bernàcer, Mise En Scène-Denis Podalydès, Décors-Eric Ruf, Costumes-Christian Lacroix, Lumières-Stéphanie Daniel, Le Comte Ory-Antonino Siragusa, La Comtesse Adèle-Jodie Devos, Isolier-Josè Maria Lo Monaco, Raimbaud-Enrico Marabelli, Le Gouverneur-Laurent Kubla, Dame Ragonde-Alexise Yerna, Alice-Julie Mossay, Mainfroid-Stefano De Rosa, Gérard-Xavier Petithan, 02/01/19, photo by https://www.operaliege.be/spectacle/le-comte-ory/

Mariotti & Co in Liege: Rossini’s La donna del lago and Stabat Mater

It was a pleasure to to see this production a second time, if only to see how well Michieletto can tell a touching story and only minimally interfere with the libretto. In this Donna del lago he tells the story with the eyes of old Elena and her secret love to the king. Elena and Malcolm have aged and they witness their own plot, discovering secrets they most likely didn’t tell each other. There were some very touching moments and I loved to see the show in the intimacy of the theatre rather than the huge space of the Adriatic Arena. Mariotti loves the score I feel. The rubati, the small plays with tempi and dynamics bring the score to life and it’s such a joy to hear him direct. The orchestra is far from impeccable but I never heard it play so well (bravo the clarinet). Rodvnanovsky had parts of his voice that sometimes sounded «unclean» (a cold?) but he masters his difficult role with relative ease. It’s more technical mastery, as where Pizzolato, although she lost some of the creaminess of her voice, has not only still impeccable coloratura but plays wonderfully with the colours, and her clear pronunciation makes poor Malcolm become a true romantic lover. Salome Jicia is less convincing than in Pesaro, she attacks her high notes a bit harshly at times, her pronunciation could also be improved but she makes a fine Elena nonetheless with a powerful coloratura and a beautiful closing aria. The small house of Liège is advantageous to Mironov’s voice, not large, but beautiful, light and flexible, sings excellently and in understandable Italian, his second act aria (whose melodic line I always found somewhat strange). Very well also Simón Orfila as Douglas. Barbaric the choir.

A couple of days later, with the same singers (Pizzolato, Jicia, Romanovsky, Orfila), Mariotti directed the Stabat Mater. I was not convinced. They all sounded a bit tired I thought. I much enjoyed Orfila, and next to him Pizzolato was the most balanced although with a fatigued upper register. Romanovsky was covered by the orchestra during much of his Cujus animam, but then shouted his cadenza. Salome Jicia did not convince in the upper register. I don’t know what it is, maybe all these roles are too high for her. I much enjoy her lower and middle register, but the runs in premuniri of the Morte Christi premuniri were very unrefined und with little legato. Mariotti pursues his play with dynamics and tempi, but rather unconvincigly this time, in slow movements he slows down even more, in loud parts he is exceedingly loud. A bit disappointing.

Direction Musicale-Michele Mariotti, Mise En Scène-Damiano Michieletto, Décors-Paolo Fantin, Costumes-Klaus Bruns, Lumières-Alessandro Carletti, Chef Des Chœurs-Pierre Iodice, , Elena-Salome Jicia, Malcolm-Marianna Pizzolato, Giacomo V-Maxim Mironov, Rodrigo-Sergey Romanovsky, Douglas-Simón Orfila, Serano & Bertram-Stefan Cifolelli, Albina-Julie Bailly, Elena Âgée-Giusi Merli, Malcolm Âgé-Alessandro Baldinotti, 8/05/12 and 12/05/18. Pic from Mr Mariotti’s facebook.

Norma @ Liège

An pleasing enough Norma was given at Liege this week. I did not like everything of Davide Garattini-Raimondi’s direction. It had the merit of being on 3 levels which allowed to play with movements of the single versus the masses, but I found the paper mache-looking setting a bit unrefined, although I guess deliberate. Personally I did not see the necessity of the overly made-up faces and neither of the dancers who hopped also in the most inappropriate scenes. To me it looked a bit silly.

It was clear even before hearing her, that Patrizia Ciofi would be too light for Norma, “In mia mano alfin tu sei” for eg and all the lower passages was musically not very pleasing and at the end of the several evenings the voice sounded very tired. Having said that I found much dedication to the role, wonderfully floating acuti and a profound rendering. With her on stage was José Marina Lo Monaco who sang a beautiful and compassionate Adalgisa, and the two voices merged wonderfully in the duet of Act II. As Pollione we had Gregory Kunde who the role seemed to fit like a glove and the notes came out in apparent effortlessness from the lowest to highest, always a pleasure to hear. Andrea Concetti was a noble Oroveso, his second aria convinced more than the first. All were accompanied by the very capable hands of Massimo Zanetti; He kept the music going swiftly although the orchestra’s playing was not always neat and clean.

Conductor-Massimo Zanetti, Director-Davide Garattini Raimondi, Choreography & Director’s Assistant -Barbara Palumbo, Set And Lighting Design-Paolo Vitale, Costume Design-Giada Masi, Choirmaster-Pierre Iodice, Norma-Patrizia Ciofi, Pollione-Gregory Kunde, Adalgisa-Josè Maria Lo Monaco, Oroveso-Andrea Concetti *, Flavio-Zeno Popescu, Clotilde-Réjane Soldano, 25/10/17, Fotos: http://www.operaliege.be

Belgium’s 2017/2018 opera season

(This article replaces the original one about the Brussels-only season with the present one about Belgium)

Brussel’s The Monnaie’s 2017-2018 opera season was recently announced. Although, with half of the 12 titles, La Monnaie/De Munt always leans towards modern music (and with modern I roughly mean the music around and after 1900) the choices are more varied than last year. We have a Wagner, of course, (Lohengrin) but at least we are spared Verdi and Puccini. I smile at Peter de Caluwe’s fear of staging Rossini and his overall mistrust in early 1800 music. So Tancredi in concert version, not the most original choice (it would if staged, though) but  always a pleasure to hear. Cavalleria rusticana and I pagliacci is a nice change considered it was given in Brussels 14 years ago (and Michieletto is always welcome). Lucio Silla is an inheritance from last year’s season, where it was programmed but not staged (as is also the Bartok) due to the delay in the renovations of the main stage. It is a rare but not minor Mozart – musically speaking, because action wise it is very thin (so why not this one in concert version?) – and performed far too rarely. Leonore (Beethoven’s first version of Fidelio) is given as concert version and I would much more appreciate a staged version in exchange of one of the modern opera’s, say Rihm or Boesmans. Conductor-wise I find the choices good, director-wise conventional and singer-wise there are some that are questionable but I am happy to be persuaded. An enjoyable rarity will be Dvorak’s Requiem while ballet wise I keep regretting the total absence of classical ballet. Let me finish with something that bothers me every year: is it not strange that there is not a single subscription that allows to see all opera’s?

 

Nicer surprises come from the two other opera houses in Belgium, the Opera de Liège and the Vlaamse Opera. I find the choices quite balanced with some very appealing surprises. In Liege we get the touching Donna del lago by Michieletto and the rarity Le domino noir by Auber. La favorite by Donizetti also contains lovely music and is rarely performed. Singer-wise the program is also very appealing although I remember Liege announcing a star only by replacing it last minute by someone less captivating (and not once). In Gent we get the extremely rare Das Wunder der Heliane, Donizetti’s Le Duc d’Albe next to a Clemenza di Tito and of course Verdi and Wagner (Falstaff and Parsifal). The Flemish Opera “continues its fascinating exploration of Russian opera” with The Gambler by Prokofiev. I am waiting impatiently for Dargomyzhsky, Cavos, Glinka, and Verstovsky….

Already available also the program of the Midsummer Mozartiade, which this year presents Don Giovanni at the Theatre de Martyrs.

The Bozar season also contains some vocal evenings.

Jerusalem @ Opera de Liège

Like many other Italian composers before him (Rossini, Bellini, Donizetti just to mention the main contemporary ones), Verdi was invited to compose for the Parisian stages. It was decided to stage a grand opéra as it was fashionable since the 1830’s. But instead of composing a brand new opera, Verdi adapted one of his earlier operas, I lombardi alla prima crociata. The writers of the libretto Royer et Vaëz  rewrote the plot (which makes more sense than the Lombardi one) while Verdi re-adapted and rewrote bits and pieces. The result is not really a grand opéra in the sense of Meyerbeer, Halevy et al. It sounds like any contemporary Verdi with all his characteristics and flaws. So if you like Verdi you probably liked this one as well, if you were expecting a grand opéra you probably were disappointed. Mazzonis di Pralafera and Jean-Guy Lecat provide red-bricked columns on each side, a wall at the back and a painted decor with an otherwise empty stage (except cushions for Gaston’s aria in act III, hastily removed for the ballet). Beautiful the costumes shaped as idealized and colourful Middle Ages apparel. The ballet was the only modern bit in an otherwise traditional setting and although i liked some parts, the performers danced in a modern, hectic, nervous kind of style.

Speranza Scappucci does her best to keep it going though I again miss the extra bit to make the music sparkle. Marc Laho’s voice expands well, his registers equally even; a fine interpretation. Elain Alvarez and Roberto Scandiuzzi both had some issues with very low or high notes in act I. Maybe not warm enough? But in the following acts Scandiuzzi developed his beautiful bass voice and was a delight as Roger (and hermit). Elain Alvarez has a somewhat “slow” voice, her embellishments not very light and and the interpretation lacked the punch of the Verdi heroines. Overall i preferred her Hélène to her Elvira 2 years ago, but was not fully convinced either.

Director-Stefano Mazzonis Di Pralafera, Conductor-Speranza Scappucci, Set Designs-Jean-Guy Lecat, Costume Designs-Fernand Ruiz, Lighting Designs-Franco Marri, , Gaston–Marc Laho, Hélène–Elaine Alvarez, Roger–Roberto Scandiuzzi, Comte De Toulouse-Ivan Thirion, Raymond-Pietro Picone, Isaure–Natacha Kowalski, Adémar De Montheil-Patrick Delcour, A Soldier-Victor Cousu, A Herald-Benoît Delvaux, Emir Of Ramla-Alexei Gorbatchev, An Officer-Xavier Petithan; 21/03/17

Don Giovanni @ Liége

don_giovanni_site_c_lorraine_wauters_-_opera_royal_de_wallonie-19-1It is the Belgian film director Jaco van Dormael who was in charge of the direction of the Liège Don Giovanni. The opera opens with Donna Anna swimming in her outside swimming pool, the balcony and the wide terrace dominated only by black. A huge tilted mirror allows to see the inside of the pool. With the appearance of Donna Elvira the huge mirror lowers (in fact a hidden platform) to show the interior of an office, again all in black. Jaco van Dormael sets the time in our days, Don Giovanni is a an avid office clerk that spends his money as quickly as he uses women, drinks alcohol, and of course uses cocaine. All works acceptably well, some of the singers are better actor than others and except for the all black set (who would even choose that??) a few laps in taste and a slow act I finale, the show is agreeable to watch. A comment for the Liège Opera house and whoever decides on the program booklet….I hated that Don Giovanni’s plot was told the way it’s directed: “Act II: Don Giovanni and Leporello have cocaine powder all over their faces”…. Really…???

don_giovanni_site_c_lorraine_wauters_-_opera_royal_de_wallonie-6_0-1Vocally the opening scene was not promising:  a hysteric-sounding Donna Anna that screamed rather than sang,  a Don Giovanni that reverted to talking, sang with an unfocused voice and quite some notes out of tune and a commendatore with an awfully dry voice made me fear the worst. But then things improved. Laurent Kubla, though a bit stiff on stage, portrayed a vocally acceptable Leporello. Salome Jicia as Donna Anna, after an uncertain start, displayed her vocal skills adequately. Well sang Veronica Cangemi as Donna Elvira, nice timbre and voice well controlled from top to bottom. From both ladies I would wish a more delicate emission. Alternate results from Leonardo Cortellazzi as Don Ottavio, in his Act I aria he displayed a wonderful timbre and sang especially touching, while the Act II aria was less convincing with a muddled coloratura. Celine Mellon is a sharp voiced Zerlina, well sung and acted. Only half convincing Roger Joakim as Masetto. I was not fully satisfied by Mario Cassi. Although scenically he is a credible Don Diovanni the role is a bit too low for him and the voice became less vibrant. Alessandrini sure kept it light and I never heard the orchestra of the Opera of Liege play, if not impeccably, at least delicate as this time.

 

22/11/16: Direction musicale-Rinaldo Alessandrini, Mise en scène-Jaco van Dormael, Décors-Vincent Lemaire, Costumes-Fernand Ruiz, Lumières-Nicolas Olivier, Don Giovanni-Mario Cassi, Leporello-Laurent Kubla, Donna Anna-Salome Jicia, Donna Elvira-Veronica Cangemi, Don Ottavio-Leonardo Cortellazzi, Zerlina-Céline Mellon, Masetto-Roger Joakim, Le Commandeur-Luciano Montanaro

 

 

 

Manon Lescaut by Auber @ Liège

manon_lescautYes, not Puccini, not Massenet. By Auber is this Manon Lescaut, altogether set on a lighter note by the simplified libretto by Scribe and by Auber’s sparkling melodies. Meyebeer attended the premiere at the Opera Comique and wrote about it…”full of freshness and invention, melodious and witty…the opera gave me much pleasure”. By the way the opera’s first Manon was Marie Cabel, a Belgian soprano and Manon Lescaut was played in Liège as early as February 1875.

manon_lescautdFourny’s setting starts from a university library (!), part of which is seen throughout. The clothings are 17-18th century and all move well on stage. Cyril Englebert supports the singers well but when the orchestra is alone I would have wished a bit more sparkle and more rubato as the musical language comes over metronomic. Sumi Jo needed most of the conductor’s support. Her voice has lost almost all glitter and sparkle which the role requires. Sumi Jo has to walk on eggs to reach all the right notes. She certainly does, and her singing is still very elegant, but this Manon is a bit unexciting. Wiard Withold on the other hand surprises with a beautiful warm timbre and excellent singing, which make the couplets and the duet of Act 2 the most interesting part of the evening. A singer with potential is also Enrico Casari with bold top notes. All other singers sang also very well.

Conductor-Cyril Englebert, Director-Paul-Émile Fourny, Set designs-Benoît Dugardyn, Costume designs-Giovanna Fiorentini, Lighting designs-Patrick Méeüs, Manon Lescaut-Sumi Jo, Marquis d’Hérigny-Wiard Witholt, Des Grieux-Enrico Casari, Lescaut-Roger Joakim, Marguerite-Sabine Conzen, Madame Bancelin-Laura Balidemaj, Gervais-Denzil Delaere, Renaud-Patrick Delcour

Il segreto di Susanna/La voix humaine @ Liège Opera

IMG_4708The opera de Liège put on stage a wonderful production of two rarely performed operas. Il segreto di Susanna and La voix humaine. The first is a short opera by Ermanno Wolf-Ferrari where reminiscences of Debussy and Wagner mix skilfully with Italian melodiousness and Viennese light-hearted humour. Very good Vittorio Prato as Conte Gil, funny in “l’odore c’é”, delicate in the love duet, comically furious in the entries to and exits from the house, lovely voice and excellent diction. Anna-Caterina Antonacci also very good as frail and delicate Susanna. In La voix humaine, not very dramatic but rather heartbreaking in her approach as abandoned lover, in excellent French.

secret_de_suzanne_voix_humaine_-_site_opera_royal_de_wallonie_-_lorraine_wauters-44Patrick Davin directs with transparency and is able to render la voix humaine with a dramatic touch but even more so Il segreto di Susanna with bustling effervescence. Ludovic Lagarde creates a beautiful white and minimal setting which is simple in its versatility for is Segreto di Susanna, and rotates to reveal other rooms and to increase the sense of loneliness in La voix humaine.

Direction musicale-Patrick Davin, Mise en scène-Ludovic Lagarde, Décors-Antoine Vasseur, Costumes-Fanny Brouste, Lumières-Sébastien Michaud, Vidéo-Lidwine Prolonge, Susanna-Anna Caterina Antonacci, Conte Gil-Vittorio Prato, Le Serviteur-Bruno Danjoux, Elle (La voix humaine), Anna-Caterina Antonacci