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Hector Berlioz - Les Troyens

Two productions of Troyens, Berlioz, at the same time, in two national houses, the Opera of Paris and the Opera du Rhin, are rare. And it is necessary to greet, with the passage, the completion of the complete edition of works of Berlioz, by the German publisher Bärenreiter, started in 1969, celebrated in Strasbourg in front of the whole crowd and of the musicologic celebrities berlioziennes.  Hugh Macdonald, director of this edition, dared statement that Berlioz would have been happy of this evening. But it was during the first interval of this long opera in two parts. The scenography of Andreas Baesler, who transposed Troy around Verdun, between 1914 and 1918, had not shown yet to which point the incomprehension of the poetry of a work can lead.  The second part, “Troyens à Carthage”, was going to appear of a vulgarity, a silly thing and an ugliness rare, with insinuations, shifted readings, diversions and parodies. The director of the Opera du Rhin, Nicholas Snowman, who offered the cheap grinding of what one sees on the large international scenes evil directed, did not find his marks in Strasbourg yet, contrary to Serge Dorny in Lyon, for example. Michel Plasson directed Troyens for the first time in pit. Its Berlioz is a chambrist, full with fine colors and beautiful intentions. This old veteran of the French repertory is an inventory of delicacies in spite of very disappointing philharmonic Orchestre of Strasbourg.  The Alsacian formation is in bad condition, the cords defeats, defective coppers, the winds without body nor heart. Will it manage to go back on level with its new musical director, Marc Albrecht? The task will be hard. One will have noted little vocal beauty at the men, with an horrible Enée, singing dreadful French. Let us announce the young person Sebastien Droy who sings with a light tenor voice most beautiful French who is, in the sublime air of Hylas, the act V, as poetically upsetting as the air of Barberine to the last act of the Weddings of Figaro, of Mozart. The three female roles were perfectly held: Sylvie Brunet is Cassandre with the song which is unaware of the beauty for touching by the truth, like A so quite illustrated large Rita Gorr. Marie-Nicole Lemieux, the rising star of the French-speaking song,has an ideal for Anna, long tessiture, equalizes, rich, creamy - and a diction of dream. Béatrice Uria-Monzon found in Didon the role of her life. She is upsetting there and splendid, irradiant.
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