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infinitelytheheartexpands · 4 years

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Going Down the List #4: ‘Les Huguenots’, Montpellier, 1990

As any of you who have been following me for a long time know, this is one of my favorite operas and I am on a quest to find and watch every available filmed production of this opera. As such, this is my eighth production of Huguenots, and I think the best one I've seen. Here goes:

First things first, any review of a production of this opera has to include some commentary about cuts. I’m happy to say that there are very few of them, the most notable of which is the entire Act III ballet, which still isn’t a huge loss. There are minor cuts elsewhere, such as a section of the Raoul/Marguerite duet that I frequently forget exists (the section, not the whole duet), a small cut in the Act I window scene, a couple tiny cuts in ‘O beau pays de la Touraine’, and some of the Act III finale. Urbain’s Act II aria was omitted as well, but since it was an insert aria in the first place, I don’t see it as that huge of a loss even though I do love it and prefer when it is included.

Also, a warning: the video quality is not great. It’s not horrible, but it’s definitely not ideal. It’s still decent, though, especially for what I’m assuming is an upload of a video ripped from a 1990s TV broadcast of an official in-house recording. There are no subtitles either, which really stinks.

With that out of the way, the production: I’d overall describe it as ‘traditional minimalist with really wonderful direction’.

The sets are where the ‘minimalist’ part comes from: there are only really two sets, one of which is almost entirely white and the other of which is almost entirely black. The sets are slightly modified for each scene, but the first set is essentially ‘huge staircase (most of the time also featuring a couple long tables and a ridiculous number of chairs)’ and the second is essentially a huge open space with black walls, a lot of graffiti that is mostly illegible, and some cut-out door openings. Although personally, I’d prefer a little more detail and variety, I do overall like the sets and I think they work well.

The costumes are beautiful period fashion; the problem with them, however, is that apparently the costume designer thought it would be a good idea to dress large groups of people exactly the same. This is especially a problem with the various Catholic noblemen, to the point where it took me a few minutes to figure out who was playing Nevers because all the Catholic noblemen in Act I wore the exact same outfit. (Perhaps this would have been less of a problem if the video quality were better.) Still, they are gorgeous costumes.

If I had to describe the direction in five words, they’d be, “nuanced, vivacious, and emotionally intense”. I especially love how much the chorus actually moves! That may sound silly, but it’s nice to have an actual street riot in Act III or a frenzied, whipped-up mass of Catholic nobles declaring anathema on the Huguenots in Act IV instead of having the chorus just stand there and sing prettily. The chorus also does an excellent job of reacting in general: they laugh at Nevers’ witty comments, they enthusiastically respond to the calls for a massacre, they recoil in horror when Raoul details the scenes of death and destruction. And the way the ending was staged─ you just had to rip out my heart, didn’t you? That’s all I’ll say about that.

There are some togetherness issues between the onstage forces and the pit; however, these are relatively minor. The orchestra (and its soloists) are very good; the chorus is amazing. Whether it’s a particularly fortuitous sound balance or just a really present chorus, they are always a force to be reckoned with on a scale I don’t think I’ve even heard on any other recording. And as I mentioned earlier, they’re not just great singers, but also great actors. Same goes for the various small roles, with a special shoutout to the six supporting Catholic nobles, who all sound good, look good, and work together very well.

Now for the seven leads:

Danielle Borst was a very adorable Urbain who happened to be dressed like she was from The Addams Family or something (including what appeared to be a very unfortunate black bobbed wig). Regardless, she was all cheer and enthusiasm in the classic trouser-role mold (along with the obligatory flirting with everyone) with a really, really fantastic voice, and she lit up the stage whenever she was on it, whether she was standing on a table or chugging a bottle of wine (during ‘O beau pays’) or spying on the ladies-in-waiting from under a sheet. Her ‘Nobles seigneurs, salut’ in particular was one of the best I’ve ever heard, and I think it’s really a shame she didn’t get a shot at ‘Non, vous n’avais jamais, je gage’.

Marc Barrard was a fantastic Nevers. His voice is really nice and lyrical and beautiful, although owing to the fact that the role is a) relatively short and b) doesn’t have any big solos or even small ensembles, he didn’t get much of a chance to show it off. As a result, as with all baritones playing this role, whether his performance succeeded or not depended on his dramatic skill. He delivered. Depending on what was happening, he was extremely flamboyant, official, gentle, and/or morally outraged— and he managed to do that without overacting, which I appreciate.

Jean-Pierre Courtis absolutely nailed it as the Comte de Saint-Bris. His voice is not particularly subtle, but then again, the character isn’t either. What his voice is is commanding and surprisingly beautiful. Seriously. It’s gorgeous. As he should, he absolutely dominated the Conspiracy Scene and came across as very cold, no-nonsense, but still intensely devoted to his country, his faith, and his own ideas about how they should be─ in short, absolutely fanatical. And I said earlier I wouldn’t give away any details about the staging of the ending, but I will here: after discovering his dying daughter, he did something I haven’t seen any other Saint-Bris do that just wrenched my heart: he walked (or to be more precise, backed) offstage. It was pretty ambiguous, but I think it’s the only portrayal I’ve seen that suggested he didn’t really regret anything he did.

Anyway, they were both awesome.

Ghyslaine Raphanel definitely did right by Marguerite de Valois. Her voice is very light and may take some getting used to (it did for me), but overall it’s a beautiful sound that I think works well for this part. In particular, she has some serious coloratura chops, which she took every opportunity to display (including by far the longest ‘O beau pays’ cadenza I have ever heard). She’s also very good at playing the young, charismatic, beautiful royal who wants peace and love but is completely detached from reality, to the point where she still can’t believe what’s happening even when Raoul tells her about the massacre in Act V, scene 1 (the scene ends with her climbing the staircase, turning around, and looking at all the Huguenot noblewomen as if to say ‘…I have no clue what the hell just happened’).

I really loved John Macurdy’s performance as Marcel. His basic voice isn’t my favorite by any means, but I can absolutely say it’s a good voice, with particularly strong low notes. And he’s a great actor! I especially loved his ‘Piff, paff’, for this exact reason: you can hear the hatred Marcel has for Catholicism and women in the way he sings every word. And he has amazing stage presence: even just a little thing, like a gesture at Raoul or the way he put an arm around Valentine and walked her back into the church in Act III, said so much. In other words, he may not be my favorite bass, but he’s a good singer and a virtually perfect dramatic match for the part.

Nelly Miricioiu was a wonderful Valentine de Saint-Bris. Personally, I love her voice although there are some things about it I could see people not liking. Nevertheless, it’s a gorgeous voice that fits the role well, and she’s amazing at everything she does, especially in her two big duets and the final scene. She’s also a very, very good actress who does one of the best acting jobs I’ve seen in this role, and that is no shabby feat, especially in the eyes of yours truly (who once wrote several pages about her character development and posted it on this very blog, although almost no one read it lol). That development I talked about, from very anxious, fragile, and shy to boldly defiant? She absolutely got it.

Gregory Kunde was absolutely phenomenal as Raoul de Nangis. His voice is pretty much perfection in this role, which is especially an achievement considering how many ways the part is demanding─ he has lyric moments and huge dramatic ones alike, and let’s not forget all the insanely high notes! But he nailed it, especially the two arias, which are both very hard in very different ways. Also, his acting was on point: I got all the little bits of his personality─ the romantic dreaminess, the idealism, the moral outrage, the impulsiveness, the stubbornness, all of it. There are so many good little details, from his frequent hesitations at drinking to the fact that even though there’s a massacre going on and he’s trying to rescue the Huguenot nobles, he still takes a few seconds at the end of his Act V aria to bow to Marguerite (and be like, ‘uh, sorry for ruining your big party’) before rushing out. Bravo!

Overall Verdict: Definite recommend; this would be a great first production for anyone wanting to watch this opera, albeit with two caveats: one, there are no subtitles (but I’d be more than happy to send anyone the French-English libretto I have on Google Drive), and two, this production may ruin you for others that are…not of the same quality. 😉

Up next: Due to ongoing difficulties with the Internet at my house, I am going to have to suspend this series until further notice, but as soon as I can, I’ll be doing the 2019 Il trovatore from Beijing!

#opera #opera tag #les huguenots #meyerbeer #giacomo meyerbeer #this was GREAT #going down the list #sorry everyone this series is being suspended until further notice because technical difficulties #but oh well!

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autoirishlitdiscourses · 3 years

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Discourse of Wednesday, 31 March 2021

You're not alone. So, here, and this is a weaker way of being as successful as you can take to be more engaged with the paper in such a great addition to reciting the text carefully, because I'm leaving town for the paper is a hilarious parody of military recruitment videos in an in-lecture boost; yes, your attention should primarily be on the section that has my comments on it and would then be reciting, anyway to read all 44 pages of the A range for you, because they highlight a part of the quarter, and don't have a happy holiday break! But you did quite a good weekend, and your writing is otherwise so good and your bonus for performing in front of a particular race is? Does that help? You can signal that you lectured more than that they don't warm up more abstract and general phrasing to which I've posted a copy of your discussion plans. If you discuss this coming week 20 November 2013—Wait a moment. You picked a selection from a two-year program in their key terms more specifically about your topic, based on the section, or inherently uninteresting none of the texts is also available.

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#Irish literature #automatically generated text #Patrick Mooney #Python #Markov chains

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