Festival Palazzetto Bru Zane in Paris 2018

 

Vom 01. bis 29. Juni 2018 findet die sechste Ausgabe des Festival Palazzetto Bru Zane in Paris statt. Aus Anlass des 200. Geburtstages von Charles Gounod am 17. Juni steht dessen Werk im Mittelpunkt. Highlight ist die Aufführung seiner Oper „Faust“ in der unveröffentlichten Fassung von 1859 im Théâtre des Champs-Élysées. Ausführende sind u.a. Les Talens Lyriques sowie die Solisten Véronique Gens, Jean-François Borras, Jean-Sébastien Bou, Andrew Foster-Williams, Juliette Mars, Ingrid Perruche und Jérôme Boutillier unter der musikalischen Leitung von Christophe Rousset. Detaillierte Informationen auf Englisch finden Sie anbei. Der Palazzetto Bru Zane – Centre de musique romantique française erforscht die französische Musik des langen 19. Jahrhunderts (1780 –1920) und fördert deren Wiederentdeckung. Im Zentrum seiner Arbeit stehen – in Zusammenarbeit mit internationalen Institutionen – Forschungsarbeit, Herausgabe von Partituren und Büchern, Organisation internationaler Konzerte sowie die Förderung pädagogischer Projekte und CD- Produktionen. Das reiche Musikerbe der französischen Romantik ist nun auch im Bru Zane Classical Radio zu genießen, das rund um die Uhr ein reines Musikprogramm spielt (classicalradio.bru-zane.com). Seit 2013 veranstaltet die Stiftung jährlich ein Festival in Paris, das im Juni 2018 nun schon zum 6. Mal stattfinden wird. Nachstehend die Informationen zu den Opernaufführungen  in Englisch. (Quelle ophelias)

 

Vorbild und Zeitgenosse Jacques Offenbach/ORCA

Les Deux Aveugles (1855): bouffonnerie musicale in one act music by Jacques Offenbach on a libretto by Jules Moinaux Le Compositeur toqué (1854): bouffonnerie musicale in one act words and music by Hervé.  This “pocket” production is a pairing of two one-act operettas by two bitter rivals on the Parisian opera stage of that period, Offenbach and Hervé. Les Deux Aveugles and Le Compositeur toqué are brought back to life with the kind help of young, resourceful director, Lola Kirchner.

These works, which have become a real headache for opera directors, were originally intended as curtain raisers for three act pieces, making it possible to fill evening-length opera programmes in order to keep spectators interested for three or four hours at a stretch. A collection of three ‘one-acts’ was occasionally performed at special events which required a variety of styles and more big names in the cast list. All the leading composers wrote them, from Massenet (Thérèse, La Navarraise) to Saint-Saëns (La Princesse jaune), but it was in the light opera repertory that the genre really flourished, between opéra comique (Boieldieu, Hérold, Auber, Adam, etc.) and operetta or opéra bouffe (Lecocq, Varney, Audran, Offenbach, etc.). Another factor was that the small theatres, as well as lacking funds, had to obey the restrictions imposed on them by the decree of 1807: no more than two or three performers on stage, no chorus, no ballet… Hervé and Offenbach were past masters at circumventing constraints. They could do a lot with a little, suggest what could not be shown, increase action in the wings, or introduce non-speaking characters, even imitation characters made of cardboard… Spurred on by the same creative spirit, the two rivals continually outdid each other’s innovations. The result was an incredibly amusing repertory which never failed to involve the audience, bringing actors and spectators together in celebration of the ‘Paris spirit’, which was a mixture of bawdy comedy and situational surrealism. It is not every day that someone cooks a cutlet between the strings of a piano! And certainly not while singing the ‘Cri du Missipipi’, a ridiculous hymn with a bass drum accompaniment… Production Bru Zane France. In collaboration with the C.I.C.T. – Théâtre des Bouffes du Nord Creative residency at La Ferme du Buisson – Scène Nationale de Marne-la-Vallée.  With the support of Arcadi Île-de- France . TUESDAY 5 JUNE 8.30 P.M.; WEDNESDAY 6 JUNE 2.30 P.M. FAMILY SHOW; THÉÂTRE DES BOUFFES DU NORD

 

„Marchesi School“: die berühmte dramatische Sängerin Gabrielle Krauss als Gounods Sapho in einer Fotographie von Benque/Gallica

LA NONNE SANGLANTE: Grand opéra in five acts by Charles GOUNOD on a libretto by Eugène Scribe and Germain Delavigne, premiered at the Opéra de Paris (Salle Le Peletier) on 18 October 1854; ACCENTUS CHOIR INSULA ORCHESTRA; Laurence Equilbey conductor and playwright David Bobée stage director and playwright Corinne Meyniel artistic collaboration; David Bobée, Aurélie Lemaignen set designer; Alain Blanchot costumes; Stéphane Babi Aubert lighting; mit Rodolphe/Michael Spyres, Agnès/Vannina Santoni, La Nonne/Marion Lebègue, Luddorf/André Heyboer, Arthur/Jodie Devos, Pierre l’Ermite/Jean Teitgen, Le baron de Moldaw/Luc Bertin-Hugault Fritz / Veilleur de nuit/ Enguerrand de Hys, Anna/Olivia Doray.

This opera by Gounod, unknown today despite its eye-catching title (The bleeding nun!), sets a libretto by Scribe and Delavigne based in part on Matthew Lewis’s The Monk (1796). It prolongs the taste of the 1820s for the ‘Gothic’ historical novel, in which spectres and phantoms are protagonists in macabre adventures set in a supernatural atmosphere. The subject had such appeal that both Verdi and Berlioz had thought of treating it. The premiere of Gounod’s opera in October 1854 coincided with a period of crisis at the Paris Opéra and seems to have been a factor in the resignation of its director, Nestor Roqueplan. His replacement, François-Louis Crosnier, was naturally keen to suspend performances of the repertory initiated by his predecessor, and did not shrink from describing La Nonne as ‘filth’ that was intolerable on France’s leading operatic stage. An attentive ear today will not find it hard to contradict this judgment and acknowledge the composer’s genuine talent throughout the score. Following in the tradition of the fantastical style of Meyerbeer’s Robert le Diable (1831), Gounod skilfully tailors his orchestral colours to the sometimes pathetic, sometimes heroic situations that give the libretto its structure. Production Opéra Comique/ Co-production Palazzetto Bru Zane / Insula Orchestra/ SATURDAY 2, MONDAY 4, WEDNESDAY 6, FRIDAY 8 JUNE 8 P.M./ SUNDAY 10 JUNE 3 P.M./ TUESDAY 12, THURSDAY 14 JUNE 8 P.M. OPÉRA COMIQUE (wobei diese Opera als CD von cpo aus dem Theater Osnabrück vorliegt – also keine Weltneuheit!)

 

Faust in seiner Studierstube auf einem Gemälde von Georg Friedrich Kersting (1785 – 1847). Foto: Wikipedia

FAUST: Unreleased version of 1859 on the occasion of Gounod’s bicentenary Opera in 4 acts by Charles GOUNOD on a libretto by Jules Barbier and Michel Carré (after Goethe), premiered on 19 March 1859 at the Théâtre-Lyrique/ Concert  performance LES TALENS LYRIQUES FLEMISH RADIO CHOIR; Christophe Rousset conductor; Marguerite/Véronique Gens, Faust/Jean-François Borras, Valentin/Jean-Sébastien Bou, Méphistophélès/Andrew Foster-Williams, Siebel/Juliette Mars, Dame Marthe/ Ingrid Perruche, Wagner/Un Mendiant/Jérôme Boutillier.

This masterpiece of the French Romantic repertoire, a regular standby in every opera house, will be presented in the original, unpublished version of its 1859 premiere, including the spoken dialogue and the ironic treatment of some of the characters, elements that were lost in the far-reaching revisions made to the work between 1859 and 1869. Christophe Rousset, Les Talens Lyriques and the Flemish Radio Choir will be the partners in this first performance in modern times (concert version) and its subsequent release as a world premiere recording in the «French Opera» series.

It would appear that Gounod began to think about setting Faust to music as early as his residence at the Villa Medici in the 1840s. But almost twenty years were to elapse before one of the most famous works of nineteenth-century French music saw the light of day. If today’s opera lovers believe they are familiar with this pillar of the repertoire, premiered at the Théâtre-Lyrique in 1859, it is because its entry within the portals of the Grand Opéra in 1869 subsequently propelled the work – in its new form – into theatres all over the world. But numerous modifications were the price to be paid for gaining access to that Parisian temple. Between the Faust of 1859 and its counterpart of 1869, some of the spirit has vanished: the spontaneity of the spoken dialogue, sometimes set as melodrama; the pawky humour of Dame Marthe, here a character role; or the irony of Méphistophélès, more comical than cynical. We have forgotten the charm of the first tenors who sang ‘Salut, demeure chaste et pur’ with the timbre typical of the voix mixte of opéra-comique. Moreover, a large number of pieces were consigned to oblivion by these modifications, including a splendid duet for

Marguerite and Valentin, an aria for Siebel, an introductory trio with a prominent part for Wagner, Méphisto’s ‘Chanson de Maître Scarabée’ (later replaced by ‘Le Veau d’or’) and a curious chorus of Sorceresses. To discover this first Faust is to gain a deeper insight into the French aesthetic of demi-caractère, so specific to the Paris of the 1850s. THURSDAY 14 JUNE 7.30 P.M. THÉÂTRE DES CHAMPS-ÉLYSÉES

 

Charles Gounod/OBA

GALA GOUNOD In homage to Charles Gounod (1818-1893) on the occasion of the bicentenary of the composer’s birth operas and oratorios excerpts by Charles GOUNOD (Roméo et Juliette, Sapho, Faust, La Reine de Saba Tobie, Philémon et Baucis Cinq-Mars, Mireille, Mors et Vita), Organ improvisation on themes by Gounod; ORCHESTRE NATIONAL DE FRANCE; Jesko Sirvend conductor; Olivier Latry organ; Jodie Devos soprano, Elsa Dreisig soprano, Kate Aldrich mezzo-soprano, Benjamin Bernheim tenor, Patrick Bolleire bass-baritone.

In homage to Gounod, the Palazzetto Bru Zane joins forces with the Orchestre National de France to present a special concert retracing the composer’s career through rare and little-known pieces: his cantata for the 1837 Prix de Rome (Marie Stuart), the unpublished first version of the ‘Poison Aria’ from Roméo et Juliette, his opera Cinq-Mars (revived only in 2015), excerpts from his epic sacred oratorio Mors et Vita, and the big female duet from Le Tribut de Zamora, the composer’s last opera. As is appropriate for a tribute, the concert will also recall some of Gounod’s greatest successes, with the Overture to Mireille and the Ballet Music from Faust, which have constantly delighted music lovers for more than a century now. Production Orchestre National de France With the support of the Palazzetto Bru Zane. The concert will be recorded and broadcasted by France Musique francemusique.fr SATURDAY 16 JUNE 8 P.M. AUDITORIUM DE RADIO FRANCE

 

André Messager (1853-1929)/ Wiki

LES P’TITES MICHU: Operetta in 3 acts by André Messager on a libretto by Albert Vanloo and Georges Duval, premiered on 16 November 1897 at the Bouffes-Parisiens Transcription by Thibault Perrine, Version for 9 singers and 12 instrumentalists, COMPANY LES BRIGANDS; Pierre Dumoussaud.

Following on from Les Chevaliers de la Table ronde in late 2016, the company Les Brigands and the Palazzetto Bru Zane return to the Théâtre de l’Athénée to present their new operetta production. The P’tites Michu are two girls from an oddly constituted family. In this operetta of everyday life, little dramas of love take the place of the high stakes of tragedy. Messager’s music plays on the register of mild emotion and melancholy, on the charm of a style in which everything seems clear while nothing is banal. The work enjoyed enormous success on its first run, which was prolonged by a Broadway adaptation in 1907 under the title The Little Michus. Production Bru Zane France. Co-production Angers Nantes Opéra Executive production company Les Brigands. In collaboration with the Athénée Théâtre Louis-Jouvet. Stage sets andcostumes by the ateliers at Angers Nantes Opéra. TUESDAY 19 JUNE 7 P.M., WEDNESDAY 20, FRIDAY 22 JUNE 8 P.M., SUNDAY 24 JUNE 4 P.M., TUESDAY 26 JUNE 7 P.M., WEDNESDAY 27, FRIDAY 29 JUNE 8 P.M. ATHÉNÉE THÉÂTRE LOUIS-JOUVET