Béatrice et Bénédicte @ Brussels

Anne-Catherine Gillet (Héro), Lionel Lhote (Somarone), Chœurs de la Monnaie/Koor van de Munt, Etienne Dupuis (Claudio)

Another rarity was offered this season by the Monnaie/Munt. The seldomly performed Béatrice et Benedicte by Berlioz. Played successfully for the first time in Baden Baden in 1862 under the composer’s baton, it is based on Shakespear’s Much Ado About Nothing, though heavily pruned and with the addition of one character. Still, Berlioz created a wonderfully melodious, almost bel-canto-style, though still very French opera. A master in orchestration, Berlioz used a smaller orchestra than he usually used, which benefits the opera tremendously, resulting in a flexible, spirited, and often sensual score.
The all-French-speaking cast is certainly beneficial for a comic opera which contains so much spoken dialogue. Having said that, the opera was given in the tent set up at Tour & Taxis, which is worse than the Cirque Royal. The sound expands too much inside, and from outside one could hear helicopters flying, ambulances passing and at certain points the rain lashed so heavily one could barely hear what was said or sung on stage. All dynamics were heavily reduced, a piano sounded like pianissimo.

Intermezzo-Gillet-Beatrice-et-Benedict-Monnaie-Bruxelles-750x350Nevertheless, I enjoyed the production a lot. the conductors Jeremy Rohrer and Samuel Jean are excellent in depicting all the different atmospheres, they are forceful and lively, supple and gentle. The director Richard Brunel creates one fixed setting which is a bit cold to be Sicily, nevertheless it changes its aspect thanks to various props being moved around. The characters are very well directed, single ones ore whole masses move on stage with simplicity and naturalness. To all that Brunel added a few lovely ideas such as Héro slowly hovering in on her wedding chorus, just to mention one.

The main singers were also excellent; I would like to mention the ladies. Anne-Catherine Gillet and Sophie Karthäuser were both delicate Héro, excellent pronunciation, varied phrasing, voice never forced. Excellent both Stéphanie d’Oustrac and Michèle Losier as Béatrice, as well as Eve-Maud Hubeaux as Ursule, which make the Nocturne duet and the terzett in act II marvellous pieces. Sebastien Droy as Bénédict (replacing a sick Julien Dran) was not a powerful Bénédict with a modest top. He had a more delicate approach, nonetheless sang and acted well. The rest of the cast went rather unnoticed.

Conductor-Jérémie Rhorer, Direction-Richard Brunel, Decors-Anouk Dell’Aiera, Costumes-Kostuums-Claire Risterucci, Lights-Belichting-Laurent Castaingt, Dond Pedro-Frederic Caton, Claudio-Etienne Dupuis, Bénédict-Sébastien Droy, Don Juan-Sébastien Dutrieux, Léonato-Pierre Barrat, Héro-Anne-Catherine Gillet, Béatrice-Stéphanie d’Oustrac, Samarone-Lionel Lhote, Ursule-Eve-Maud Hubeaux (30/3/16), Conductor-Samuel Jean, Héro-Sophie Karthäuser, Béatrice-Michèle Losier (06/04/16)

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Orphée et Eurydice @ De Munt/La Monnaie

De-Munt-Orphée-et-EurydiceDe Munt recently staged Orphée et Eurydice in the version reviewed by Berlioz. The singing was adequate with Stéphanie d’Oustrac as Orphée, although I would have wished more depth. Sabine Devieilhe was a committed Eurydice and Fanny Dupont an acceptable Amour. The main attraction however, was the mise en scene by Romeo Castellucci. One finds oneself in the world of Els, a patient with Locked-in-Syndrome. I suppose Castellucci wanted to draw parallels between Eurydice, who lives in the Underworld, in another world, lives but not completely, as does Els, who feels, smells, and hears everything but is completely immobilized except for her eyes. The journey of Orphée to the Underworld is the journey the spectators take to visit Eurydice/Els in the Underworld/the neurological hospital in Flanders. I came out from the theatre with mixed feeling.
Here is the link to the streaming page, still active until the end of July 2014.

http://www.demunt.be/nl/mymm/related/event/323/media/2075/Orph%C3%A9e%20et%20Eurydice/