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Staging Pelléas et Mélisande to try to solve the riddle posed by the small uncrowned princess of Debussy and Maeterlinck such is the challenge adopted by Katie Mitchell realized that, on 2 July, the fifth generation in Aix-en-Provence from the wonderful Written on Skin, by George Benjamin, in 2012. A virtuoso exercise , the virtuous sense: show, analyze, test, measure, breathe the essence of this girl from nowhere, crying beside a fountain, on the run, possibly pregnant
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the Columbia threw a young woman alone in a wedding dress on the bed of a hotel room. High heels stole the handkerchief is stained with blood, the closed suitcase. “She must have had a great fright” , tell Golaud, the man who was hunting that day and could “take it easy though” , he has added, sitting on the bed, pretending to catch a fallen crown at the bottom. Between realism and symbolism, action and dream, concrete and fantastic, Katie Mitchell opened in the false bottom of a semantic words of worms. Visions seasons castle! Already the tree branches have insinuated their Boulus arm in the cracks of the walls, the water is the footboard Later, in the bottom of the pool where sleeps a dilapidated remains of stagnant water, the forbidden lovers will find the huge muslin bag of memories.
Magic Box
Melisande followed this man who already has gray hair in a sad mansion whose scheduling is a trap. Mélisande will quickly find the passage, the doors of a cupboard leading to dizziness in black and white (and spiral) staircase that plunges to the underground caves, as suddenly scattered flowers taint of a red blood . While Mélisande omniscient see everything, hear everything, hear everything, splitting is to look better. Between dream to Lewis Carroll and Freudian unconscious, the drama will follow and everyone will believe it. Because Mélisande is Barbara Hannigan, living and dead, contortionist and mechanical doll, feline and stiff, Hannigan and her long hair which eroticism fascinating. Golaud will use it as a weapon to punish the infidel, his younger brother, Pelléas, will don the shirt of Nessus as a.
The ogre Philharmonia Orchestra will sometimes tempted to swallow voice.
If she loved Pelléas a forbidden love? A woman has the right to caress a lover so that it will spread in her hair. She gave a child to Golaud, was not afraid of old lips the kiss of Arkel, nor the perverse game of Yniold forced to watch in the tower window. Katie Mitchell played with his magic box compartmentalized sets, open and closed through a sliding black panel. A puzzle in which each piece, chasing the other, creates a new gap: the dream of Mélisande, served by the keen intelligence of a player management and the sometimes stifling abundance scenes of doubles, while the spectacular weightless characters moving in slow motion stalled spooky. When the knife jealous Golaud has cut the throat of Pelleas, Melisande still enjoyed him. It is she who will die under the cushion that the singer applied to the face of the actress who plays her silent role.
In the end, the track Mélisande not have been as blurred more. For Katie Mitchell was so bent on her character that she fell into the water, and the emotion it drowned. We had no heavy heart for the child and his Yniold stray bullet, for Pelleas tearing to life a love spasm to Golaud that treason makes it a sword of pain. No pity for either Mélisande or for his poor child. Diarrhea common feelings for striking price of unveiling the mystery
very substance
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That’s why the epilogue seemed to us so cruelly disappointing: Mélisande waking up in his hotel room with his suitcase and white dress … will remain a luxurious voice plateau. The Golaud both haunted, subtle and neurotic Laurent Naouri, a perfect musical and dramatic performance. Pelléas flawless Stéphane Degout, full-bodied, powerful, almost too adult already, despite his toes turned in and dandinements autistic. The Yniold franc and without finger in the mouth of Chloé Briot, the Arkel right in his boots Franz Josef Selig, the beautiful timbre of Sylvie Brunet-Grupposo making the ‘scene of the letter ” Genevieve read by a pure moment of elegy. And Barbara Hannigan. Excellent across the board, including on the prosodic level: the Canadian again strengthened its French from The Human Voice Poulenc, mounted in November 2015 at the Paris Opera. She caught her singing in the very substance of Debussy hum. This way, for example, repeated on his deathbed “Open Window” , giving the physical sensation of an area of light landed in the voice, feeling the beyond .
Esa-Pekka Salonen did not return to the Grand Théâtre de Provence from the Elektra Richard Strauss directed by Patrice Chéreau in 2013. His Debussy petri flesh and blood, from sfumatos gossamer to verismo densities. The great Finnish leader is well aware of the sea and forest, sun plumb noon red hot irons in the fire drama. The ogre Philharmonia Orchestra will sometimes tempted to swallow voice. Probably to bring better music this side of the mirror
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Pelléas et Mélisande , Debussy. Barbara Hannigan, Sylvie Brunet-Grupposo Stéphane Degout, Laurent Naouri, Chloé Briot, Franz Josef Selig, David Wilson-Johnson, Katie Mitchell (staging), Lizzie Clachan (sets), Chloe Lamford (costumes), James Farncombe ( light), Martin Crimp (playwright), Opera Choir of Cape Town, Philharmonia Orchestra, Esa-Pekka Salonen (conductor).
Grand Theatre of Provence, Aix-en-Provence (13). 2nd of July. Until July 16. Such. 08-20-92-29-23-12. € 9 to € 270. Festival-aix.com
Released July 7 at 19 h 30 on France Musique on Concert.arte.tv/fr
read: Pelléas et Mélisande Debussy, Avant-Scène Opéra No. 266 (2012, 154 p.), 25 €. Asopera.fr
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